This paper elaborates on conceptual, empirical and practical arguments why corporations need to focus on their social dimensions, in order to further enhance organizational performance. The paper starts with an introduction on the general trend towards inclusiveness and connectedness. It then elaborates on the phase-wise development of cultures and organizational structures. Managing corporate improvement by building cultures of trust is the central focus of this contribution. By showing the cultural dimensions of Great Places to Work and their workplace (...) practices, worthwhile experiences leading to organizational improvement and superior financial performance are demonstrated. (shrink)

This study identifies and describes the values espoused by the 62 companies that have consistently appeared on the “Fortune 100 Best Companies to Work For” list. We identify 24 separate values and offer an analysis of the keywords and phrases used to promote them. We confirm that these values fall within the categories of four well-accepted theoretical frameworks of corporate values and culture. We then provide evidence for three underlying dimensions transcending all four models. They are values that guide (...) relationships and self-regulation; values that describe desired outcomes and performance; and values that inform learning and change. Next, we present the results of a qualitative study describing how these companies put their values into practice. Finally, using publicly available information from the Great Place to Work® Institute, we show how the espoused values we identified relate to: what employees report about their experiences and company self-descriptions. Our findings highlight connections between leadership and values and they offer guidance to those seeking to understand keys to values-based cultures. (shrink)

How did the Great War affect psychoanalysis? The common approach to this question has to do with assessing the extent to which psychoanalysis has influenced the medical and military understanding of the soldiers diagnosed with shell shock after the war, as well as the extent to which that influence further contributed to the new interest in Freudian psychoanalysis in Britain. If we take a conceptual approach and ask about the impact of the Great War on the theory of (...) psychoanalysis, we find ourselves investigating the more specific question: how did the Great War influence Freud’s psychoanalysis? For no matter how severely Freud has been and still is criticized, all psychoanalytic texts and schools lead back to his writings. When one examines Freud’s writings as a whole, comparing his pre-war work to his post-war writings, one can notice quite a few significant shifts. Perhaps most conspicuous is the shift in the theory of the mind as divided, a shift that is consolidated and articulated in The Ego and the Id. Prior to the war the main division was “topographical,” postulating more or less metaphorical “places” in the mind: consciousness, pre-consciousness, and the unconscious. After the war, the mind is divided “structurally” into three agencies, each with their own motivational functions: the Id, Ego and Super-Ego. The previous division, or rather the previous conception of the unconscious, was not abandoned. The Id, as well as parts of the Ego and the Super-Ego were said to be unconscious. But the main division of the mind was changed, especially since Freud came to understand that his conception of the unconscious did not lend itself to a unified definition. (shrink)

Damn Great Empires! offers a new perspective on the works of William James by placing his encounter with American imperialism at the center of his philosophical vision. This book reconstructs James's overlooked political thought by treating his anti-imperialist Nachlass -- his speeches, essays, notes, and correspondence on the United States' annexation of the Philippines -- as the key to unlocking the political significance of his celebrated writings on psychology, religion, and philosophy. It shows how James located a craving for (...) authority at the heart of empire as a way of life, a craving he diagnosed and unsettled through his insistence on a modern world without ultimate foundations. Livingston explores the persistence of political questions in James's major works, from his writings on the self in The Principles of Psychology to the method of Pragmatism, the study of faith and conversion in The Varieties of Religious Experience, and the metaphysical inquiries in A Pluralistic Universe. Against the conventional view of James as a thinker who remained silent on questions of politics, this book places him in dialogue with a transatlantic critique of modernity, as well as with champions and critics of American imperialism, from Theodore Roosevelt to W. E. B. Du Bois, in order to excavate James's anarchistic political vision. Bringing the history of political thought into conversation with contemporary debates in political theory, Damn Great Empires! offers a fresh and original reexamination of the political consequences of pragmatism as a public philosophy. (shrink)

The present age is sometimes called the Scientific Age. This does not imply that every member of the community is an expert scientist—far from it. It does mean, however, that the labours of the scientists have given the age certain features which influence the life of every citizen to some degree. Accordingly it is desirable that as many as possible should have some understanding of the scientists' work, of their aims, their point of view, and their methods. If we (...) had a wishing-rug or some sort of spare-time car that could transport us at will to any place and time, we might visit the scientists of every age, see them at work, listen to their discussions, and even take a hand in the proceedings. The wishing-rug is not available but the literature of science will serve the purpose for anyone who will do the necessary searching, reading, and thinking. Unfortunately, some of that literature is decidedly inaccessible. To meet the difficulty this book has been written in the hope of bringing some of the most important passages of the literature of science within the reach of everyone. Every past of the vast edifice of science is necessarily the work of some human being, and most of us become more interested in the building, and are able to understand and appreciate it better when we know who were the architects and builders and when, how, and why they did their work. The story of science is a noble epic of the struggle of man from ignorance toward knowledge and wisdom and toward the mastery of nature and of himself. One purpose of science is to systematize experience, and a knowledge of the story of science has helped many in that process of organization. This book, therefore, offers the reader a cordial invitation to embark on a tour of visits with great scientists to learn from them the parts they played in the advancement of science and of the human race. Here is a treasure-house of fascinating information for all who are interested in the world around us, and the history of man's understanding of it. (shrink)

Great Thinkers of the Western World is a concise and authoritative guide to the principal theoretical ideas of the outstanding thinkers in Western history. From Parmenides to Albert Camus, theses men and women have profoundly influenced the development of Western civilization through their theories and revolutionary ideas and by providing intellectual, scientific or spiritual illumination. Articles on 116 thinkers are arranged chronologically, making it essay for readers to follow and appreciate the development of ideas from the early Greeks through (...) the first half of the twentieth century. Each article provides basic biographical information, a list of the thinker's major works, a summary of his or her principal ideas, an essay explaining the thinker's most significant theories and indicating his or her place in the history of thought and a brief bibliography of further readings. An absorbing, accessible and highly informative introduction to the greatest minds of Western civilization, Great Thinkers of the Western World improves our understanding of Western thought and how it evolved. (shrink)

In 1749, Linnaeus presided over the dissertation "Oeconomia Naturae," which argued that each creature plays an important and particular role in nature 's economy. This phrase should be familiar to readers of Darwin, for he claims in the Origin that "all organic beings are striving, it may be said, to seize on each place in the economy of nature." Many scholars have discussed the influence of political economy on Darwin's ideas. In this paper, I take a different tack, showing (...) that Darwin's idea of an economy of nature stemmed from the views of earlier naturalists like Linnaeus and Lyell. I argue, in the first section of the paper, that Linnaeus' idea of oeconomia naturae is derived from the idea of the animal economy, and that his idea of politia naturae is an extension of the idea of a politia civitatis. In the second part, I explore the use of the concept of stations in the work of De Candolle and Lyell – the precursor to Darwin's concept of places. I show in the third part of the paper that the idea of places in an economy of nature is employed by Darwin at many key points in his thinking: his discussion of the Galapagos birds, his reading of Malthus, etc. Finally, in the last section, I demonstrate that the idea of a place in nature 's economy is essential to Darwin's account of divergence. To tell his famous story of divergence and adaptation, Darwin needed the economy of nature. (shrink)

Introduction. The article analyzes the problem of memory of the Great Patriotic War in the story “Quarry” by the Belarusian writer Vasil Bykov. The memory of the War, as the authors of the article demonstrate, has special qualities and characteristics for those who participated in it, for those who really want to remember the War and really remember it. The purpose of the study. The paper shows how it is possible to interpret the phenomenon of memory in mythological and (...) religious modes based on the material of V. Bykov’s novel “The Quarry”. Methods. The article uses the phenomenological method of A. Augustine and M. Heidegger, which leads to the existential time series of the “inner man”, as well as the method of creative hermeneutics, which allows to trace stable semantic structures behind the artistic canvas of V. Bykov’s text. The scientific novelty of the research. The mythological aspect of memory returns the characters to the point and event of the “beginning”, in which the formation of an integral self-aware personality took place, into an ontological event constituting the foundation of human identification. Such an event is a tragic, existential event. This event remains relevant in memory, not transient, not disappeared, and determines the characteristics of the subjectmemory all his life. This aspect of memory is opposed to “historical time”, according to which the past has already passed in memory; one should live and think today-the present and the future. The religious aspect of the story’s memory, as interpreted by the authors of the article, lies in the importance of memory, which it has in overcoming the power of time. Based on Augustine’s analysis, proposed by him in Confessions, the authors bring together the logic of V. Bykov’s memory research in this story and the reasoning of Bishop Hippo. Results. Memory endows the events of the past with living qualities of the present time and, thus, memory as a “memory of the sacrifice-ransom”, on the one hand, constantly encourages a Christian believer to think about death, and on the other hand, it is also an instrument of victory over it. In the matter of salvation, a religious person must remember himself, his deeds/offenses, his loved ones, the sacrifice of those and the One who redeemed this life and life in general with his death. In popular culture, in the religious worldview, in the historical attitude to life, such an attitude to memory is denied and causes misunderstanding. Hence, the attitude to the memory of the War in V. Bykov’s work seems outdated, archaic and irrelevant, which the authors of this article disagree with. Conclusions. The authors of the article conclude that the position of the writer front-line soldier V. Bykov in relation to the memory of the War is the position of “paradoxical evidence” and this position allows the author to really, most reliably and psychologically accurately describe from the “inanimate world” that area of the dead, terrible, inhuman that War creates and produces. And it turns out that it is necessary to remember this and think about it in order to be truly alive. (shrink)

There has been a great deal of work done in recent years on "place-making". The concept has had currency in urban renewal and design circles, and a quick search of the Research on Place and Space page turns up a number of uses of the term. Usually the idea refers to the various ways in which physical and social space can be arranged to facilitate and encourage elusive, visceral things such as " community ".

Suppose that a very large number of people, say one billion, will suffer a moderately severe headache for the next twenty-four hours. For these billion people, the next twenty-four hours will be fairly unpleasant, though by no means unbearable. However, there will be no side-effects from these headaches; no drop in productivity in the work-place, no lapses in concentration leading to accidents, no unkind words spoken to loved ones that will later fester. Nonetheless, it is clearly desirable that (...) these billion people avoid the headaches. Even though the headaches are moderate, they are impervious to pain-killing drugs, acupuncture, transcendental meditation, and just about any other remedy. In fact, there is only one way in which the headaches can be avoided. In a remote South American village, a young woman, Agnes, is suffering from a fever. A simple dose of antibiotics will save her life, otherwise she will die. If, and only if, she dies, the billion headaches will be prevented. You just happen to be passing through the village, in full knowledge of the circumstances. Although not a doctor (and therefore not bound by codes of professional ethics, Hippocratic oaths, etc.), you possess the requisite dose of antibiotics, for which you have no other use, and which will become useless, if not used in the next two hours. (shrink)

Can we talk meaningfully about God? The theological movement known as Grammatical Thomism affirms that religious language is nonsensical, because the reality of God is beyond our capacity for expression. Stephen Mulhall critically evaluates the claims of this movement to be a legitimate inheritor of Wittgenstein's philosophical methods as well as Aquinas's theological project. The major obstacle to this claim is that Grammatical Thomism makes the nonsensicality of religious language when applied to God a touchstone of Thomist insight, whereas 'nonsense' (...) is standardly taken to be solely a term of criticism in Wittgenstein's work. Mulhall argues that a place can be found in both his early work and his later writings for a more positive role to be assigned to nonsensical utterances--one which depends on exploiting an analogy between religious language and riddles. This allows us to see various ways in which his later work has a perfectionist dimension, and results in a radical reconception of the role of analogous usage in language, and in the relation between philosophy and theology. (shrink)

Corporate social responsibility (CSR) is increasingly viewed as a strategic management tool for companies to draw in candidates. In this arena, international responsible rankings such as ‘The Great Place to Work’, ‘Family Responsible Employer Index (FREE)’ or ‘The Best Companies for Working Mothers’ put emphasis on the value of responsible behaviours, not only for surviving in the market, but also to ‘win the war for talent’. Using a sample of Spanish University students, this research aims to analyse (...) the process of selecting responsible organizations to work and whether there is a possible future conflict of interest by students between their own and organizational values. Surprisingly, the university students assessed two opposing situations with the highest values: of looking to change employer and of letting time pass in order to ignore the conflict. The implications of the students’ assessments and the related factors which affect their decision-making criteria are explored in this article. (shrink)

More than 30 leading experts share their insights on the impact of trust on business success in this handbook on organizational trust. Through case studies--including Apple's new leadership--stories, and solutions, these experts present a holistic perspective that encompasses the role of all stakeholders, not just leaders, in advancing trust and trustworthiness within organizations. Among the contributors are Ben Boyd of Edelman, Randy Conley of Ken Blanchard Companies, Stephen M. R. Covey of CoveyLink, Amy Lyman of the Great Places to (...) Work Institute, and Bob Vanourek of Triple Crown Leadership. (shrink)

Context: To speak of constructivism -- and in particular of radical constructivism -- in education is to place oneself on a field which, like any other academic field, is the scene of tensions, debates, and indeed battles. While such controversies are, predictably enough, fought out between the partisans of constructivism and those defending other theses, they are also fought out between the constructivists themselves, as a number of group works have brought out (e.g., Steffe & Gale 1995; SRED 2001). (...) In other words, constructivists do not express their views in unison whenever there is a question on the development of knowledge (an individual or collective matter?), the underpinnings of knowledge (be they of a psychological, sociological or other type) or, as humorously noted by Quale (2007), that "sin" which is said to consist in the relativist mode of questioning or critique authorized by constructivism. Purpose: In this paper, we would like to contribute to this discussion and to this plurality of ways of embedding oneself in constructivism, in particular by bringing out (as was so acutely shown by Ernst von Glasersfeld 1987a, 1995, 2007) that while constructivism offers a basis on which to revisit the question of knowledge, its contributions nevertheless extend well beyond this single preoccupation. By reincorporating "the properties of the observer" into his or her discourse as well as the conditions, stakes and issues surrounding the utterance in question, in short, by reincorporating the question of power into the utterance-making, constructivism also provides a basis for revisiting the "Great Divides" -- that is, the (unequal) relationships between the various forms of knowledge as well as the (unequal) modes of evidence and authority that accompany these relations. Method: Through an examination of three topics, that is the "racism" of intelligence, the Semmelweis affair, and the question of endogenous knowledge, we will attempt to explicate various insights afforded by constructivism. Conclusion: So doing, we will show that radical constructivism, in its recognition of the plurality of possible modes of description and explanation, contributes to a form of epistemological democracy. (shrink)

Can we talk meaningfully about God? The theological movement known as Grammatical Thomism affirms that religious language is nonsensical, because the reality of God is beyond our capacity for expression. Stephen Mulhall critically evaluates the claims of this movement (as exemplified in the work of Herbert McCabe and David Burrell) to be a legitimate inheritor of Wittgenstein's philosophical methods as well as Aquinas's theological project. The major obstacle to this claim is that Grammatical Thomism makes the nonsensicality of religious (...) language when applied to God a touchstone of Thomist insight, whereas 'nonsense' is standardly taken to be solely a term of criticism in Wittgenstein's work. Mulhall argues that, if Wittgenstein is read in the terms provided by the work of Cora Diamond and Stanley Cavell, then a place can be found in both his early work and his later writings for a more positive role to be assigned to nonsensical utterances--one which depends on exploiting an analogy between religious language and riddles. And once this alignment between Wittgenstein and Aquinas is established, it also allows us to see various ways in which his later work has a perfectionist dimension--in that it overlaps with the concerns of moral perfectionism, and in that it attributes great philosophical significance to what theology and philosophy have traditionally called 'perfections' and 'transcendentals', particularly concepts such as Being, Truth, and Unity or Oneness. This results in a radical reconception of the role of analogous usage in language, and so in the relation between philosophy and theology. (shrink)

This paper examines the concept of liberty at the heart of Sarah Chapone’s 1735 work, The Hardships of the English Laws in Relation to Wives. In this work, Chapone (1699-1764) advocates an ideal of freedom from domination that closely resembles the republican ideal in seventeenth and eighteenth- century England. This is the idea that an agent is free provided that no-one else has the power to dispose of that agent’s property—her “life, liberty, and limb” and her material possessions—according (...) to his arbitrary will and pleasure, without being accountable to the law. This paper shows how Chapone uses this ideal to ground her arguments against those laws that put married women in a worse condition than slavery, and to call for the establishment of reasonable and just safeguards for a woman’s personal property and property in her children. More than this, it is argued, in this text Chapone articulates a feminist ideal that is both negative freedom from domination and positive freedom to be one’s own master or arbiter. Her work thus occupies a unique—and hitherto unrecognized—place in the history of feminist philosophy. (shrink)

Drawing on ancient writers, from Aesop to Ovid, classicist and working farmer, Mark Usher compiles in this book an anthology of Greco-Roman passages illustrating how they thought about animals and illuminating they might help us to rethink our relationships with them. Not many contemporary readers will know, for example, the compelling arguments the second century AD Greek philosopher Porphyry makes for vegetarianism, long before a plant-based diet began to garner headlines. Plutarch's serio-comic exposition of the rationality and inherent dignity of (...) non-human creatures-put on the lips of one of Circe's pigs-is so fresh that it sounds like it was formulated just yesterday. The knowledge the poet Theognis derived from Greek sponge divers about the behavior of octopods rivals our contemporary fascination with the octopus. Aristotle's introduction to the scientific study of animal morphology and behavior remains unparalleled for its elegance and insight, and it represents one of the first forays into natural history writing. Seneca, employing an ingenious etymological pun on the word animal, endeavors to show that we humans are morally inferior to our animal cousins, who instinctively know and are satisfied with their place in Nature. The Greeks and Romans, amidst all their magnificent cultural achievements and reckless, destructive behavior, lived closer than most of us to the perils and prospects of their environments. This afforded them a sensitivity to their environments and, in particular, to their fellow creatures that can perhaps help to disabuse us of our disconnectedness from animal life. This small volume demonstrates how astoundingly relevant the ancients still are in this regard. (shrink)

Danielle Macbeth has two principal goals in "The Place of Philosophy": to diagnose the plight of contemporary Western—and especially analytic—philosophy, and to argue for an alternative conception of philosophy's role, according to which engagement with its history and with the philosophies of other cultures becomes crucial. I have a great deal of sympathy with both halves of her project, and feel I have learned a considerable amount from her essay. As Macbeth herself emphasizes, though, the a priori and (...) dialectical nature of philosophy urges readers to see for themselves whether a given work of philosophy is fully convincing, and if not, then to engage in constructive criticism. In that spirit, I propose that we... (shrink)

Janz is an Associate Professor of the Humanities in the Department of Philosophy at the University of Central Florida in Orlando. His scholarly interests include African philosophy, the philosophy of mysticism, and interdisciplinary approaches to place. Janz is a remarkable webmaster and his academic web pages on such topics as “aesthetics and visual culture” and “critical theory resources” are comprehensive and helpful; see a complete listing on his website at: http://pegasus.cc.ucf.edu/~janzb/. EAP readers will find Janz’s website on Research on (...) Place and Space especially useful; it shows the great range of academic and professional work on place and provides a host of references and website links. See a more complete description of this site in the box on the next page. [email protected] ©2004 Bruce Janz. (shrink)

Ongoing changes in many Western countries have resulted in more healthcare services being transferred to municipalities and taking place in patients’ homes. This greatly impacts nurses’ work in home care, making their work increasingly diverse and demanding. In this study, we explore home‐care nursing through a critical discourse analysis of focus group interviews with home‐care nurses. Drawing on insights from positioning theory, we discuss the content and delineation of their work and the interweaving of contextual changes. (...) Nurses hold a crucial position in home healthcare, particularly in ensuring care for sicker patients with complex needs. Assessing health needs, performing advanced care, and at the same time, providing customized solutions in various homes were identified as distinctive for home‐care nurses’ work. Changes have made nurses’ work become driven by comprehensive tasks and acute medical needs that require much of their competence and time. Urgent care seems to take precedence in nurses’ work, leaving less time and attention for other tasks such as conversations and support for coping with everyday life. This underlines the need to investigate and discuss the content and scope of nurses’ work to help shape the further development of home‐care nursing. (shrink)

In the De mineralibus, Albert the Great clearly states that minerals do not possess life, since – following the Aristotelian path – life is always connected with the operations of the soul. Nevertheless, dealing with the virtues of stones, Albert speaks about a curious difference between “living” and “dead” stones: living stones are substances that possess virtues caused by their forms, while non-living stones are called stones only equivocally because their virtues have expired. Moreover, throughout his work, Albert (...) often seeks help from the biological world to explain the nature and the processes of mineral substances: the coming-into-being of stones and metals is often compared to the generation of plants and animals; places where minerals are formed act as the mother’s womb for the embryo; sulphur and quicksilver are said to be the father and the mother of all metals; etc. The tendency to biologise inorganic nature is a key strategy that Albert uses to explain the processes and functions of the mineral world. (shrink)

In the tradition of Islamic philosophy, mas̲h̲s̲h̲āʾiyyūn have been subjected to serious criticism in G̲h̲azālī’s (d. 1111) work Tahāfut al-Falāsifa, with the claim that their philosophical views are incoherent. Tahāfut, which pioneered the structural transformation of Islamic philosophy, is also the source of the tradition of Tahāfut in Islamic thought. Islamic philosophy in the Ottoman period presents a multidisciplinary structure in which the disciplines of ilm al-kalām, philosophy and taṣawwuf converge in terms of subject, purpose, and method. Besides, it (...) is the continuation of a tradition in which G̲h̲azālī’s thought is dominant in general. philosophy gained momentum with a competition for a work that Fatih Sultan Mehmed wanted to be written on G̲h̲azālī’s Tahāfut. In this competition, K̲hōd̲j̲ā-Zāde’s (d. 1488) Tahāfut al-Falāsifa and Alāʾ al-Dīn ʿAlī al-Ṭūsī’s (d. 1482) Kitāb al-Zuhr competed and K̲hōd̲j̲ā-Zāde’s work won the competition with major praise. This work of K̲hōd̲j̲ā-Zāde entitled Tahāfut al-Falāsifa has an exceptional place in terms of its contribution to both the Islamic philosophy tradition and the tradition of tahāfut. This work, in terms of its theoretical approach, which has a feature that offers insight and method of addressing the issues systematically, is a typical example to the Islamic philosophy of the Ottoman period and gained a considerable reputation at that time. The original name of K̲hōd̲j̲ā-Zāde’s work is Kitâb al-Tahāfut fi'l-Muhākama Bayna'l G̲h̲azālī wa'l Falāsifa. The work consists of twenty philosophical issues. K̲hōd̲j̲ā-Zāde explained his views on all philosophical issues in these twenty-two issues, and also discussed the issues on which G̲h̲azālī conflicted with the philosophers. Three issues that have become important in the tradition of thought after al-G̲h̲azālī denounced the philosophers constitute the main subject of the work. The instructions and annotations written on this work made a great contribution to the development of philosophy in the tradition of Ottoman thought, and moreover, in a sense, it provided the revival of the dusty volume of tahâfut discussions. In this article, by using literature and data analysis methods, the tradition of tahāfut reflecting the course of Islamic philosophy in the Ottoman period and the place and importance of K̲hōd̲j̲ā-Zāde’s tahāfut in this tradition will be revealed. Another aim of this study is the possible relations between K̲hōd̲j̲ā-Zāde's intellectual personality and the structural features of the Ottoman thought tradition. (shrink)

Singularizing progressive time bounds pasts, presents, and futures to cause-effect chains overdetermining existence in education and social life more broadly. Indigenous Futures and Learnings Taking Place disrupts the common sense of "futures" in education or "knowledge for the future" by examining the multiplicity of possible destinies in coexistent experiences of living and learning. Taking place is the intention this book has to embody and word multiplicity across the landscapes that sustain life. The book contends that Indigenous perspectives open (...) spaces for new forms of sociality and relationships with knowledge, time, and landscapes. Through Goanna walking and caring for Country; conjuring encounters between forests, humans, and the more-than-human; dreams, dream literacies, and planes of existence; the spirit realm taking place; ancestral luchas; Musquem Land pedagogies; and resoluteness and gratitude for atunhetsla/the spirit within, the chapters in the collection become politicocultural and (hi)storical statements challenging the singular order of the future towards multiple encounters of all that is to come. In doing so, Indigenous Futures and Learnings Taking Place offers various points of departure to (hi)story educational futures more responsive to the multiplicities of lives in what has not yet become. The contributors in this volume are Indigenous women, women of Indigenous backgrounds, Black, Red, and Brown women, and women whose scholarship is committed to Indigenous matters across spaces and times. Their work in the chapters often defies prescriptions of academic conventions, and at times occupies them to enunciate ontologies of the not yet. As people historically fabricated "women," their scholarly production critically intervenes on time to break teleological education that births patriarchal-ized and master-ized forms of living. What emerges are presences that undiscipline education and educationalized social life breaking futures out of time. This book will be of great interest to students and scholars of Indigenous studies, future studies, post-colonial studies in education, settler colonialism and coloniality, diversity and multiculturalism in education, and international comparative education. (shrink)

Singularizing progressive time bounds pasts, presents, and futures to cause-effect chains overdetermining existence in education and social life more broadly. Indigenous Futures and Learnings Taking Place disrupts the common sense of "futures" in education or "knowledge for the future" by examining the multiplicity of possible destinies in coexistent experiences of living and learning. Taking place is the intention this book has to embody and word multiplicity across the landscapes that sustain life. The book contends that Indigenous perspectives open (...) spaces for new forms of sociality and relationships with knowledge, time, and landscapes. Through Goanna walking and caring for Country; conjuring encounters between forests, humans, and the more-than-human; dreams, dream literacies, and planes of existence; the spirit realm taking place; ancestral luchas; Musquem Land pedagogies; and resoluteness and gratitude for atunhetsla/the spirit within, the chapters in the collection become politicocultural and (hi)storical statements challenging the singular order of the future towards multiple encounters of all that is to come. In doing so, Indigenous Futures and Learnings Taking Place offers various points of departure to (hi)story educational futures more responsive to the multiplicities of lives in what has not yet become. The contributors in this volume are Indigenous women, women of Indigenous backgrounds, Black, Red, and Brown women, and women whose scholarship is committed to Indigenous matters across spaces and times. Their work in the chapters often defies prescriptions of academic conventions, and at times occupies them to enunciate ontologies of the not yet. As people historically fabricated "women," their scholarly production critically intervenes on time to break teleological education that births patriarchal-ized and master-ized forms of living. What emerges are presences that undiscipline education and educationalized social life breaking futures out of time. This book will be of great interest to students and scholars of Indigenous studies, future studies, post-colonial studies in education, settler colonialism and coloniality, diversity and multiculturalism in education, and international comparative education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE PLACE OF RENE GIRARD IN CONTEMPORARY PHILOSOPHY Guy Vanheeswijck University ofAntwerp and ofLeuven Iwould like to start by quoting a text which is likely to be recognized by everyone, who is even on a superficial level familiar with the work of René Girard: Desire that bears on a natural object is only human to the extent that it is mediated by the desire of another bearing (...) on the same object: it is human to desire what others desire, because they desire it. Thus an object that is perfectly useless from a biological point of view (such as a medal, or the enemy's flag) can be desired because it is the object of other desires. Such a human desire, and human reality as it differs from animal reality, is only created by the action that satisfies such desires. Human history is the history of desires that are desired [Désirs désirés]. Undoubtedly, these could be words written by Girard. However, they are not. These words are quoted from the famous lectures given by Alexandre Kojève on Hegel's Phänomenologie des Geistes at the Ecole pratique des hautes études between 1933 and 1939. They were followed by what would become the crème ofpost-war French philosophy: Raymond Aron, Georges Bataille, Alexandre Koyré, Pierre Klossowski, Jacques Lacan, Maurice Merleau-Ponty, Jean-Paul Sartre.' Kojève's interpretation ofHegel has, as generally known, become the point ofreference to the post-war twentieth ' Although Sartre himselfcould not attend the lectures (at that time he taught philosophy in Le Havre en Laon), he must have heard from it by way of Aron or Merleau-Ponty. 96Guy Vanheeswijck century philosophy in France. Before 1930 the word "dialectic" was burdened with an odium of sin, after 1930 it became a word—thanks to Kojève —radiant with prestige. Before 1930 there had been no talk of an Hegelian school whatsoever in France, after 1930 the situation changed so drastically that Merleau-Ponty was able to write these often quoted lines in 1946: Hegel is at the origin of everything that has been great in philosophy for over a century; for example Marxism, Nietzsche, phenomenology and German existentialism, psychoanalysis. He inaugurates the attempt to explore the irrational and to integrate it within a wider rationality that remains the philosophical task of our century. (Sens et non-sens 109-110) Half a century later, these words have lost their self-evident character. While the generation of French thinkers between 1930 and 1960 stresses its dependence on Hegel, the generation after 1960 heavily reacts against him. In 1970 Michel Foucault gave his inaugural speech at the Collège de France. On behalf of his generation he testified to a generalized antiHegelianism at that moment: "Our entire epoch, whether through logic or epistemology, whether through Marx or Nietzsche, seeks to evade Hegel's Imperium [échapper à Hegel] (L'Ordre du discours 74). Obviously, René Girard belongs to the second generation, which, on the one hand, embroiders on the theme ofdesire, borrowed from Kojève's interpretation ofHegel, but, on the other, in its search for answers precisely wishes to get rid of Hegel. But, is it correct to call René Girard a philosopher? His schooling was that of an historian. In 1947 he graduated in Paris as an archivistepal éographe at the Ecole de Chartres: his thesis was "La vie privée à Avignon dans la seconde moitié du XVe siècle." Three years later—in the meantime he had emigrated to the United States—he received his Ph.D. at the faculty of history of the University of Indiana. The topic of his dissertation was "American opinion ofFrance, 1940-1943." However, he has never worked as a professional historian. He owes his reputation first and foremost to his literary analyses, subsequently to his research in anthropology, finally to his exegesis ofthe Bible. Time and again, Girard has expressed his preference for literature to both humanities and philosophy. Human behavior is, in his view, much less elucidated by the conceptual structures of discursive philosophy than by the evocative force of a Greek tragedy, the Biblical passion story or a modern novel. One might retort that René Girard... (shrink)

Philosophers and natural scientists are both familiar with the fact that, nearly a century ago, Engels undertook to synthesize the findings of natural science in his day from the standpoint of materialist dialectics. But few know the price Engels paid, how many times the work approached completion but was, for various reasons, postponed again and again until his death. In his mind, what place was his Dialectics of Nature to have occupied in the overall system of Marxist theory? (...) This is the question to which I devote the present article. But before offering an answer, it is necessary to trace, albeit briefly, the history of this book — how it was conceived by Engels, how work on it progressed, how it was broken off, and how the incomplete manuscript came down to us. (shrink)

Shows what Schopenhauer's view was of his own place in the history of philosophy, as revealed by an unusually long synopsis he wrote for such a history. He counted two philosophers, Plato and Kant, as supreme and regarded himself as correcting and completing the work of Kant. The foundations of Kant's critical philosophy had been laid, he believed, by Locke, and then strengthened by Hume. So he saw Locke, Hume, Kant, and himself as having developed a single line (...) of thought over nearly 200 years. However, this was because they all stood baffled before the same fundamental problems: he disparaged any approach to philosophy that was primarily concerned with the writings of other philosophers and not directly with the problems presented to us by the world. (shrink)

The Great Chain of Being has been recognized for fifty years as the masterpiece of the History of Ideas movement in America. Lovejoy's work stimulated deeper research into our heritage, which has demonstrated that the idea of the chain of being has not lost its vitality. However, Lovejoy would probably be surprised that hierarchy is now defended in philosophy of science, in ontology and metaphysics, in ethics and aesthetics, and in philosophical anthropology. This volume presents concepts of hierarchy (...) and the great chain of being from Plato, Aristotle, Plotinus, medieval and Renaissance thinkers, Hindu philosophy, and authors of the twentieth century. This volume represents the ideas of twenty scholars, among whom are Dominic O'Meara, Ronald Hathaway, Ewert Cousins, John Sommerfeldt, Lewis Ford, David Blumenthal, and Marion and Paul Kuntz. The editors have compiled a bibliography of four hundred and fifty items and an index of names, places, and concepts which allow the reader immediate access to the variety as well as the unity of ideas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Place Settings: Convivium, Contrast, and Persona in Catullus 12 and 13Christopher NappaThough apparently nugatory both in their dramatic situation and in their characterization of the speaker and his world, poems 12 and 13 of Catullus actually contain a great deal of information about the values of the poet’s persona and the milieu which the author was attempting to create in his work. By examining these parallels (...) and then the crucial differences between the two texts, we can see that poems 12 and 13 exploit their superficially nugatory stance in order to scrutinize the values and social protocols which make that stance seem appropriate. 1 Thus these poems, social in that they reflect a world of dinner parties and dinner-party gossip, are social also in that they play a role in the poet’s project of social criticism and analysis. 2Poems 12 and 13 form a pair not only because of their position in the corpus as we have it or the mention of Fabullus in both poems, but also because of structural and thematic parallels. 3 Scholars have spent a greater amount of time on the more accessible poem 13, but 12 deserves equal attention as an example of how Catullus deals with his chosen themes and how he characterizes himself. 4 Poem 12 is addressed to Asinius Marrucinus the napkin thief. [End Page 385]Marrucine Asini, manu sinistra non belle uteris: in ioco atque uino tollis lintea neglegentiorum. hoc salsum esse putas? fugit te, inepte:5 quamuis sordida res et inuenusta est. non credis mihi? crede Pollioni fratri, qui tua furta uel talento mutari uelit: est enim leporum differtus puer ac facetiarum.10 quare aut hendecasyllabos trecentos exspecta, aut mihi linteum remitte, quod me non mouet aestimatione, uerum est mnemosynum mei sodalis. nam sudaria Saetaba ex Hiberis15 miserunt mihi muneri Fabullus et Veranius: haec amem necesse est ut Veraniolum meum et Fabullum.We may be tempted to see this poem as a light-hearted joke, but it has deeper resonances. Catullus begins by criticizing Asinius, who steals napkins at dinner parties, but finishes by invoking the sentimental attachment to his friends, Fabullus and Veranius. The structure of the poem is simple but effective: opening attack, contrast with brother, warning that more blame-poetry will follow, mention of the stolen item, and its description: the napkin is important not because of its monetary value but because it is a gift from friends; to devalue it would be to devalue that friendship. The conuiuium becomes the point of departure for a brief statement of affection for distant friends, and also for a comment on the nature of friends and friendship. 5 Catullus might simply have written a few lines saying that he was fond of Fabullus and Veranius, but he did not. Instead he chose a circuitous route, one which leads briefly through the conuiuium. The napkin thief has not merely committed an act which was insulsum ; he has interfered in Catullus’ personal life by removing an object with sentimental associations.The poem implies a dramatic situation, albeit not an obviously serious one: at a conuiuium Asinius stole Catullus’ napkin. This implied narrative forces us to envision Catullus as one of the neglegentiores amid “laughter and wine.” He then becomes the annoyed poet, protesting [End Page 386] this petty theft and threatening to abuse the perpetrator with iambic invective should he not return it. So far, this is not a serious poem; the whole affair seems trivial, and the self-presentation of Catullus is not particularly flattering. In the end, however, Catullus reveals that his concern is not with the loss of the napkin, but with the role of that napkin in the maintenance of his friendship (see Martin 1992, 130–31). The sympotic background disappears, and finally Catullus emerges as one whose real concern is with proper regard for and maintenance of his personal relationships.Catullus paints himself as the Roman sophisticate who travels in high circles. We can see this from his choice of victim, and by his invocation of Pollio in line 6, since these brothers came from an important Roman family. That this worldly persona takes up time writing verses about... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Place of Touch in the ArtsChristopher Perricone (bio)IntroductionIn Breughel's great picture, The Kermess, the dancers go round, they go round and around, the squeal and the blare and the tweedle of bagpipes, a bugle and fiddles tipping their bellies (round as the thick- sided glasses whose wash they impound) their hips and their bellies off balance to turn them. Kicking and rolling about the Fair Grounds, (...) swinging their butts, those shanks must be sound to bear up under such rollicking measures, prance as they dance In Breughel's great picture, The Kermess.1"The Dance" written by William Carlos Williams in 1944 is one of my favorites. Williams gives us a feel for that life of the kermess (a carnival) in his poem through Breughel's picture, as it were three times removed from the event itself. Of course, unlike Plato, I would argue that the vitality of the kermess is not lost in the poem; it is actually enhanced by a subtle sleight of hand. The poem is not primarily about Breughel's picture. It is about dance, about the dancers who go round, their squeal, the crude music, its rollicking measures, the dancers kicking and rolling and swinging, their hips, bellies, and butts. Reading this poem, I "see" those ordinary folk of Breughel's great picture. I "hear" their music. I "move" to their dance. The poem seems a condensation, a summary of the fine arts. Perhaps the poem is about poetry's power to reinvigorate imaginatively what we hear and see. Perhaps I think of festivities at which I have danced, how such festivities are essential to the human experience. Perhaps William Carlos Williams in 1944, World War II coming to a close, was anticipating similar good times.Tactile ValuesThe fine arts do much to educate our senses. One need only recall the many essays and books written on art, on how to look and hear, how various [End Page 90] critics draw our attention to the power of imagery and song. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the pictures we store away, the tunes we whistle. However, here I want to draw attention to an overlooked sense—touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, that is, that touch keeps the artwork coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian Renaissance. In a sense this article is a resurrection of Berenson's idea of "tactile values." Berenson was on to something both about painting and about the arts in general. However, he lacked the scientific evidence about touch and its role in human relationships needed to develop his idea of tactile values to any great extent.The idea of tactile values is first mentioned at the beginning of the essay "The Florentine Painters." Berenson is discussing the art of Giotto. However, prior to plunging into his subject, he says that we need to know what is essential to figure painting before we can appreciate its real value. What is essential are the "tactile values" we give to our retinal impressions, "a test of reality."2 Painting stimulates touch in order for it to stimulate our "tactile imagination."3 Giotto was a genius in stimulating the tactile imagination. Like other medieval masters, Giotto was a fine story teller and had great compositional skills. However, unlike Giotto, other medieval masters "never painted a figure which has artistic existence."4 Giotto's predecessors crafted "highly elaborate, very intelligible symbols, capable, indeed, of communicating something, but losing all higher value the moment the message is delivered."5 If such medieval symbols communicated anything at all, it was only some residue of what one might touch; whatever reality those symbols might have possessed was virtually eviscerated by the artists' emphasis on form and cognitive content. Giotto's predecessors were driven merely by ideas and, one might add, not altogether consistent and coherent ones. On the contrary, Giotto's work seemed to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 122.3 (2001) 447-451 [Access article in PDF] Elizabeth Baynham. Alexander the Great: The Unique History of Quintus Curtius. Ann Arbor: University of Michigan Press, 1998. xiv + 237 pp. Cloth, $39.50. This is a well-organized book that is abreast of recent scholarship and contributes to our understanding of Q. Curtius Rufus and his History of Alexander as a work of literature. Baynham tells (...) us that her primary objective is an analysis of Curtius' historical methods and arrangements of his material and an evaluation of his chief themes. Her introductory chapter sketches the influence of Curtius' History in the Middle Ages and Renaissance and gives a brief synopsis of scholarship in the field. A chapter entitled "Roman Curtius" attempts to place the author and his work into the broader framework of Roman literature, with a particular focus on his language and themes and the influences that shaped these. A lengthy chapter on sources and historical methods reviews Curtius' place within the tradition of ancient historians of Alexander the Great. The three most original chapters explore the motifs of fortuna and regnum in Curtius' portrait of [End Page 447] Alexander. The book concludes with an appendix surveying the debate over the date of Curtius' History of Alexander. Baynham considers at length the current "consensus" view that the work was written under Claudius but ultimately decides that a date under Vespasian is "most likely." The index, unfortunately, is too brief to be very helpful: following up on Baynham's discussion of the idea of regnum in Curtius, the reader must look up eighteen undifferentiated references to libertas. The absence of an index of passages discussed is a serious omission, which detracts significantly from the book's usefulness.Despite Baynham's assertion of the "apathy" and "hostility" of twentieth-century Curtian study (5), Curtius Rufus (as she points out elsewhere) has not lacked for attention in recent decades. J. E. Atkinson's A Commentary on Q. Curtius Rufus' Historiae Alexandri Magni (Amsterdam 1980, 1994) is supplemented by his survey of scholarship on Curtius (ANRW 2.34.4 [1997]: 3447-83). For those without Latin, there is a Penguin translation by John Yardley. At the other end of the scale, there is Jean Therasse, Quintus Curtius Rufus Index Verborum (1976). Some of this work is admittedly excessive and unproductive. The Loeb edition by J. C. Rolfe (1946), for example, is still available and offers a better translation than Yardley. More significantly, it is not clear how much is gained by lengthy commentaries on passages of Curtius, particularly in the face of A. B. Bosworth's Historical Commentary on Arrian's History of Alexander (1980, 1995) and P. A. Brunt's Loeb edition of Arrian (1976, 1983), which offers such extensive notes that it might well be called a commentary. Of necessity, historical commentators on Arrian and Curtius traverse much of the same ground. Moreover, all this attention to Curtius as a historian has not--perhaps cannot--reverse the commonsense judgment that Arrian is the better and more reliable source.In a sense, the attention of historians has diminished our understanding of Curtius' History of Alexander. Rather than approaching the work as a whole, they ransack Curtius for isolated statements and anecdotes to bolster their own view of particular incidents in Alexander's career. This is poor methodology and poor history. It would be a signal achievement of Baynham's book if it could direct more attention to Curtius by literary scholars. It is in this area that interesting work on Curtius has been done in the last two decades: for example, Werner Rutz's "Zur Erzahlungskunst des Q. Curtius Rufus," ANRW 32.4 (1986): 2329-57, Francesca Minissale's Curzio Rufo: Un romaziere della storia (1983), and H. Currie's "Quintus Curtius Rufus: The Historian as Novelist?" Groningen Colloquia on the Novel 3 (1990): 63-77.Curtius' History of Alexander is a text that might lend itself well to the approaches of genre study and narrative technique. It is disappointing that Baynham does not do more in this direction... (shrink)

It is known that the relationship between word and meaning is one of the most controversial topics of ancient Greek philosophers such as Aristotle, Plato and Indian linguists. In fact, this issue has continued to be discussed with its definition and scope, and opinions about it have been expressed until today. When we review the subject in the Arabic language, we see that Arabic is a rich language with its words and meanings. Also, changes and developments in Arabic, which is (...) a deep-rooted language, has undergone in the historical process have brought changes of meaning in its words. Thus, it can be said that the Arabic language, that includes many branches of linguistics such as morphology, syntax and rhetoric, is also interrelated with semantics, what focuses on the relationship between word and meaning. Although semantics has emerged as a new branch of linguistics, many of today's semantic issues have been discussed in many classical sources and different disciplines, especially in the Arab world. In this study, semantics in general and the emergence of Arabic semantics as a science, its scope, description and its relations with other languages have been investigated. In addition, the works of Ahmed Muhtar Omar (1933-2003) who made great effort especially in the field of Arabic language and the modern Arab world, in the domain of Arabic and his contributions to this field, those include the main issue of this study, have been addressed. The general content of his book "Ilmu'd-dalâla", which includes almost all the topics related to semantics, and the important issues and views those it contains are also mentioned. Besides, presenting important issues in the work, especially Ahmed Muhtar Omar's prominent views and explanations are also mentioned. In the study, prominent works about semantics and Arabic semantics, written from the past to the present, were used. In particular, the life and scientific personality of Ahmed Muhtar has been tried to be presented on the basis of a few works written in the contemporary period. (shrink)

The Mamluk period of Islamic history witnessed a very vivid life of scientific endeavours. This was mainly due to the fact that the higher education institutions (madrasa) established by the Seljuqid and Ayyubid dynasties continued to develop as well as that Mamluk sultans and their commanders gave great importance to charitable institutions of education. With the facilities provided by these charities, Cairo and Damascus grew into important centres of attraction for scholars and teachers from all over the Islamic world. (...) In this atmosphere, a serious training activity was going on in almost every branch of religious and intellectual sciences alongside production of scientific works in these areas, in which both scientific traditions of earlier generations was preserved and continuity was maintained with considerable amount of detail and depth. The Mamluks, thus, became an important basin that nourished all regions of the Islamic world in terms of science and intellectual culture. The Mamluk period was also prolific in terms of tafsīr literature. A tafsīr chair was established in each one of the educational institutions, such as madrasas, mosques and khangāhs, where various tafsīr courses were taught, and tafsīr texts were read, by distinguished figures of the era. In these courses, the main text was usually the al-Kashshāf of al-Zamakhsharī (d. 538/1144), who had hitherto gained a dominant position in the tafsīr science, followed by the tafsīrs by al-Bayḍāwī (d. 685/1286) modelled on al-Kashshāf and al-Baghawī (d. 516/1122). Moreover, one of the peculiarities of the Mamluks in the scientific life was the public courses, called al-mīʿād, in which books were perused in public on tafsīr, ḥadith, or admonitions (mawʿiẓa). It is evident that these lessons and the tafsīr books had serious contributions to the development of the tafsīr literature and these tafsīrs were welcomed in every part of the Islamic world and have been taught until today. Works by prominent exegetes, such as al-Qurṭubī (d. 671/1273), al-Khāzin (d. 741/1341), Abū Ḥayyān (d. 745/1344), Samīn al-Ḥalabī (d. 756/1355), Ibn Kathīr (d. 774/1373), al-Biqāī (d. 885/1480) and al-Suyūtī (d. 911/1505) are most notable examples of such works of the period. In the Mamluk period, a good number of works was produced in the literary forms of commentary (sharḥ), gloss (ḥāshiya) and adjudication (muḥākamāt), a fact that reflects the scientific and intellectual level of the time. While commentaries and glosses were generally focused on the tafsīrs by al-Zamakhsharī and al-Bayḍāwī, the critiques and the adjudications, discussing different positions in these tafsīrs or commentaries and glosses on them constitute the textual evidence attesting to the high level of scientific activities. Of these texts comes first the commentary on al-Kashshāf by Quṭb al-Dīn al-Rāzī (d. 766/1365) which has determined the course of the discussions of the later commentaries. Among the most remarkable works of the Mamluks was the commentary on al-Kashshāf by the Hanafīte verifying scholar, Akmal al-Dīn al-Bābartī (d. 786/1384), and ʿAbd Allah b. Yūsuf al-Zaylaʿī’s (d. 762/1360) work. Taqī al-Dīn Ibn Taymiyya (d. 728/1328), who lived in Damascus at an early period of the Mamluks, developed a system of thought and science, at the heart of which he placed the Prophet, his companions and the following generation (al-salaf). This approach, which amounts the revitalization of the Salafist thought, was also reflected in the tafsīr area, while Ibn Taymiyya adopted a tafsīr method based on narrations, assumed a staunch attitude against the opinions based on sectarian affiliations, and, in this context, made harsh criticisms against the tafsīrs written before him. The tafsīr work, which was targeted most by his criticism arrows, was the al-Kashshāf, the most commonly read exegesis in the madrasas of the Mamluk period. He also sometimes accused the exegetes, such as Ibn ʿAṭiyya (d. 541/1147), a Sunnite exegete, of giving weight to the views of the theologians and stated that the ideal exegesis was that of al-Ṭabarī (d. 310/923), which generally depends on the views of al-Salaf with solid transition chains.Tafsīr education and works in the Mamluk period have not yet been given sufficient scholarly attention. This study therefore aims to show that this period had many peculiar aspects regarding tafsīr education and studies and that it had notable influence both on the Ottoman period and the modern times. Based on the historical data and products it contends that this period successfully continued the tradition of tafsīr as well as enjoyed a dynamic and an in-depth scholarly vitality on the area. (shrink)

This is the second volume in a six-volume translation of the major writings of Wilhelm Dilthey, a philosopher and historian of culture who continues to have a significant influence on Continental philosophy and a broad range of scholarly disciplines. In addition to his landmark works on the theories of history and the human sciences, Dilthey made important contributions to hermeneutics, phenomenology, aesthetics, psychology, and the methodology of the social sciences. This volume presents Dilthey's main theoretical works from the 1890s, the (...) period between the Introduction to the Human Sciences and The Formation of the Historical World. A common thread of the writings included here is an interest in the relation between the self and the world. In "The Origin of Our Belief in the Reality of the External World and Its Justification," Dilthey argues that our engagement with the world is rooted in our practical drives and the resistance they meet. The basic nexus of our beliefs about reality is volitional rather than representational. The next essay, "Life and Cognition," examines the main categories with which we organize our experience of life into an understanding of the human world: selfsameness; doing and undergoing; and essentiality. These categorial relations are further articulated with the aid of Dilthey's structural psychology in ways that rival some of the insights of phenomenology. This occurs in "The Ideas for a Descriptive and Analytic Psychology." By focusing on how lived experience places everything in a temporal continuum that can be described and analyzed, Dilthey saw the opportunity to establish a structural psychology that could be of great use to the human sciences in general. In the final essay, "Contributions to the Study of Individuality," Dilthey attacks Windelband's thesis that the human sciences are idiographic. Many human sciences have systematic and structural aims that combine the study of uniformities with the examination of individuation. Applying the comparative method, Dilthey argues that living beings share many basic similarities within which typical variations tend to recur. For human individuation, however, the specification of the historical nexus is also essential. (shrink)

The most comprehensive collection available in paperback of Bacon’s philosophical and scientific writings, this volume offers Bacon's major works in their entirety, or in substantive selections, revised from the classic 19th century editions of Spedding, Ellis, and Heath. Selections from some of Bacon's natural histories round out this edition by showing the types of compilations that he believed would most contribute to the third part of his Great Instauration. Each work has a separate brief introduction indicating the major (...) themes developed. In her general Introduction, Sargent gives a biographical sketch of Bacon's early life, education, and legal career, discusses the major components of his philosophical project, and traces his influence on subsequent natural philosophy. In addition, she looks at the primarily negative evaluations of Bacon's methodological writings by philosophers of science in the first half of the twentieth century, the reassessments of his works that took place as the influence of logical empiricism declined, and the current revival of interest in Bacon that coincides with the focus on experimental practice today. A bibliography and index complete the text. (shrink)

In the World Library of Educationalists series, international experts themselves compile career-long collections of what they judge to be their finest pieces--extracts from books, key articles, salient research findings, major theoretical and/practical contributions--so the work can read them in a single manageable volume. Readers will be able to follow the themes and strands of their work and see their contribution to the development of a field. A developmental psychologist by training, Howard Gardner has spent the last 30 years (...) researching, thinking and writing about the development and education of the mind. He has contributed over 30 years researching, thinking and writing about the development and education of the mind. He has contributed over 30 books and 700 articles to the field. He is best known for his critique of the notion that intelligence is one single human intelligence that can be assessed through psychometric tests. Instead Gardner developed the theory of "multiple intelligence" which states that an individual has eight relatively autonomous intelligence: · Language · Music · Emotional · Logical-mathematical · Spatial · Kinesthetic · Creative · Interpersonal (understanding oneself) This theory has proved popular, particularly with those who see the IQ testing a relatively narrow set of abilities. In this book, he brings together over 20 of his key writings in one place. The book begins with a specially written Introduction, which gives an overview of Howard's career and contextualizes his selection in this book. Through his selection we can see the development of his thinking as well as the development of the field. This is the only book that offers this insight into this great scholar's work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Going to our Happy Place: Idealism, Realism, and Nishida's Eutopia: A Response to Christian UhlChristopher S. Goto-JonesWords can be tricky things; their significance is often found in unexpected places. The word 'utopia,' for example, is usually considered to have originated in the early sixteenth century in Louvain when Thomas More fused two Greek words (ou, 'not,' and topos, 'place'). The result was a new, Greek-sounding compound, utopia, (...) translatable as 'Noplace.' Apparently, it was a small, newly discovered island where people did things differently from Europeans. By a happy coincidence, utopia was almost homophonous with another Greek compound, eutopia, which might be translated as 'Happyplace.' The word has come to be used to describe models of nonexistent societies that are imagined to be better than the ones in which we live.In his stimulating, thorough, and carefully crafted review of my recent book, Political Philosophy in Japan: Nishida, the Kyoto School, and Co-Prosperity, Christian [End Page 482] Uhl makes a great deal of my claim that Nishida's political project was utopian. He also takes issue with my characterization of Nishida as a political idealist. In the interests of clarification and in the spirit of engaged debate, I think that it is important to consider what these important (and often complicated) terms mean. In particular, the idea that 'idealist' and 'utopian' are coterminous should not be allowed to stand unchallenged. In a related way, it may be helpful to clarify what is meant by 'realist' in political thought, since Uhl claims that, far from being an idealist, Nishida was actually a realist "in a very fundamental sense of the word."Uhl is quite right to observe that I identify Nishida's political scheme as utopian in the sense that he provides a model of an ideal society as a means of demonstrating the problems in the society in which he lived.1 However, when it comes to the effectiveness of Nishida's utopian vision qua dissent in wartime Japan (or simply qua practice), the key problem slides from being utopianism itself to idealism. A utopia is an ideal society; the method required to realize that society is not necessarily part of the vision itself, although it may be implied in the structure. Consider a socialist utopia: for Marx, the road to this perfect society was paved by historical materialism; for a number of other socialists (including many Japanese socialists), the route to a broadly similar society was defined in humanist or even idealist terms. In a rather casual sense we might label the later Marx a realist and, say, Kawakami Hajime as an idealist. Nishida's utopia is no simpler,2 although it does, in fact, contain a sense of process: it is defined as a type of self-realization and it is premised upon an underlying faith in the power of the mind to transform both the self and the everyday world.I would contend that Nishida was an idealist (a thinker who works on the principle that the reality in which we live is somehow mind-correlative), although not a simple idealist, and also a political utopian. A number of his students, for example Nishitani and Kōyama, broadly shared their mentor's goals but differed in their construction of the paths to them. The quotation from Nishitani that Uhl selects reveals this clearly: he argues that if we do not "have both feet firmly grounded in the consciousness of the past as well as in the practice of the present, any idea will remain a mere concept, a utopian ideal."3 Nishitani is not taking issue with the utopia; he is challenging the process appropriate to its realization. He argues (in common with many of the other second-generation members of the Kyoto School) that an idealist philosophy that pays no attention to the significance of history can offer no blueprints for the achievement of its ideals in reality. The implied challenge to Nishida's thought here is to his understanding of the forces of historical change: idealist self-power (jiriki) is laid bare as ahistorical and inadequate as an engine for social change. Having said that, however, Nishitani does not make... (shrink)

Albert the Great’s Aristotelian paraphrases (De animalibus, Parva Naturalia) are famous for their extensive use of medical doctrines. Their use is not unprecedented in other Albertinian works, though. This article tries to show how Albert’s early theological works (De homine, Commentarium super libros Sententiarum) provide crucial evidence to understand the rationale behind Albert’s integration of medico-philosophical doctrines into his mature works of natural philosophy. In the first place, the early works assert that medicine – at least, its theoretical (...) part – treats a natural body subject to a natural process (healing), a view that leads Albert in his mature works to consider (this part of) medicine as a part of natural philosophy. Secondarily, the article moves on to show how Albert’s selective attitude towards medical doctrines and his position on the Galenic-Aristotelian quarrels about generation and origin of veins date back to his De homine and are strongly – although not entirely – dependent on Avicennian zoology and medicine. Unlike Avicenna, Albert would reshape in his mature works notions of Galenic and Avicennian medicine (spirit, radical, moisture) and zoology (formative power) into an original paradigm of ‘universal physiology’, meant to investigate the world of plants and minerals not only according to their parts and functions but also according to their species. (shrink)

Kierkegaard wrote much on the subject of love, but few of his treatments are as eloquent and penetrating as this series of "disputations" built around texts of sacred scripture. His lucid analysis of the parallelism and divergency of worldly and Christian love make this book a great classic in the subject and a fine place to begin reading Kierkegaard if one has not had the pleasure of his acquaintance. As with other works of the author, one finds here (...) the same unique combination of impassioned argument, rapt storytelling, and flashes of wisdom. It is often impossible to say whether Kierkegaard is speaking philosophically, theologically, poetically, or autobiographically. A large part of the mesmerizing beauty of his prose comes from the interchange of earnest exegesis and lyrical digression. (shrink)

One of the most striking and yet neglected strands in Max Weber’s Protestant Ethic is the evident interest it displays in the affinity between Puritanism and Judaism. Whilst it would be an exaggeration to describe this as a principal theme, still it is one which recurs, and leads to one of those little essays masquerading as footnotes that highlight points in the text where Weber’s interests exceed the bounds of his avowed historical subject [XXI.91 n. 49] – the formation of (...) an ascetic Protestant ethic in the 17th century and its contribution to the formation of the modern Occidental “spirit” of capitalism. On the face of it Judaism can have very little to do with 17th century Puritanism, whilst in the original text of 1904–5 Weber says nothing directly about the possible links between Judaism and capitalist behaviour, though this would seem the most obvious way to introduce this subject. [181 n. 2] The sense that Weber has diverged a long way from his “real” subject is greatly enhanced when we see that the Judaism he is most interested in is ‘Talmudic Judaism’ [XX.45; XXI.90] – an entity which cries out for definition and clarification. On the other hand it is well-known that Weber was deeply interested in the study of Judaism, as is evident from his book-length study of ‘Ancient Judaism’ within the series of the ‘Economic Ethics of the World Religions’ – and even this was only a fragment of the ground he wished to cover. Plainly there are hidden currents at work here, and in charting them we may cast light both on Weber’s thinking about Judaism, and also on the construction of the Protestant Ethic : to what extent was it confined to ‘the Protestant ethic and the “spirit” of capitalism’? and to what extent was it, not merely incomplete but, an “open-plan” text which tacitly embraced a much wider subject area? (shrink)

Before introducing the subject matter of this paper, I have to make it clear that I shall simply say “Reiner” when quoting the works of the thinker to whom this Memorial Issue is dedicated. This will be a way of expressing how close he remains to our affectionate remembrance. I think he would have approved of Heidegger’s opinion that “the greater a thinker is, the more purely his person disappears behind his work.” As Reiner was a genuine philosopher and (...) a great thinker, we must therefore accept, even if reluctantly, not to speak of the man, but only of his work. In the present case, silence and speech are intimately bound together. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Abstract:This article will analyze the feeling of restlessness that we discover in the representation of the border areas, seen as extreme and paradigmatic landscapes of contemporary society. The analysis is based on three narrative works of current Catalan literature: Dies de frontera (Frontier days; 2014) by Vicenç Pagèsa; La pell de la frontera (The skin of the frontier; 2014) by Francesc Serés, and L'horitzó primer (The first horizon; 2014) by Joan Todó. Traditional Catalan—and European—literature, has long since lent great (...) weight to literary representation of landscape in the creation of identity and culture. Now, however, with the desolate, degraded and forgotten landscapes of the peripheries and borders, the narrative of place speaks to us of personal and collective crises. In recent decades, academics speak of a spatial turn in the humanities, and some even talk of a shift in civilization tied to the landscape. Catalan fiction is a good example of this shift. We shall analyze these three books to see how this place is perceived aesthetically and define the feeling of disquiet and restlessness which emerges, in the end, from these specific and deeply human observations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Scheeben's Place in Nineteenth-Century Catholic Theology and the Question of His Theological MethodEvan S. KoopMatthias Joseph Scheeben (1835–1888) is enjoying a moment in English-speaking Catholic theological circles. In recent years his thought has attracted increasing interest from scholars who view him as an important forerunner to some of the central currents of Catholic theology in the twentieth century,1 a trend that promises only to accelerate with the (...) recent publication of the initial volumes of the first complete translation of his monumental Handbuch der katholischen Dogmatik into English.2 The much-debated question of Scheeben's proper place in the history of Catholic theology in the nineteenth century therefore, has gained a new relevance. While the present study of course, cannot and does not claim to bring this dispute to a definitive resolution, nevertheless it is hoped that it may at least help to clarify some common misunderstandings that can arise from hasty generalizations, and offer a few insights—which are not in fact new, but which are too often ignored by English-speaking scholars today—into the way in which the thought of the Jesuit theologians of the so-called "Roman School" may have served to influence Scheeben's unique theological method.In the past, numerous attempts have been made to situate Scheeben's thought within a particular theological school, and members of rival schools, in turn, have sought to claim him (or indeed repudiate him) as one of their [End Page 471] own.3 Amid the flood of divergent assessments of Scheeben's theological affinities, there at least exists some scholarly consensus about his greatness as a theologian. In 1935, during the centenary celebrations of Scheeben's birth, Pope Pius XI lauded him as a "man of genius" and proposed his thought to the students of the Germanicum as a model of the proper unity of theology's ascetical and dogmatic elements.4 In a Festschrift dedicated to Scheeben's theology published in the same year, Martin Grabmann judged that Scheeben was "the greatest dogmatic theologian of the nineteenth century,"5 and Carl Feckes, Scheeben's successor at the Cologne seminary, named him "the greatest Mariologist of our time."6 On the eve of the Second Vatican Council, no less an authority than Hans Urs von Balthasar could proclaim that Scheeben was "the greatest German theologian to-date [1961] since the time of Romanticism."7Nearly all, likewise, acknowledge the great difficulty of comprehending Scheeben's theology: even a German theologian of the stature of Joseph Ratzinger laments that Scheeben "has not made it easy, either as a professor for his hearers or as a writer for his readers. His language is rigorous, marked by the laborious travail of thought." The fact that he draws abundantly from such sources as Aquinas and the Greek Fathers "lends to his work [End Page 472] breadth and depth, but does not necessarily facilitate easy access."8 Similarly, the ultramontane Cardinal Henry Edward Manning, in his preface to an English abridgment of Scheeben's Dogmatik, warned that Scheeben's greatest work "requires not only reading but study; and study with patient care and conscientious desire to understand."9 Perhaps it is for this reason that it has become almost proverbial to observe that Scheeben's works are much praised, but seldom read.10Far less agreement, however, exists when it comes to the question of what kind of theologian Scheeben was, or to what theological school he belonged. Was he, asks the great Scheeben scholar Eugen Paul, "the prototype of those theologians who represent (if not establish) the infamous 'two-storey theory [Stockwerkstheorie] with respect to nature and grace—or does he rather belong to those who insist precisely on the transcendental unity of nature and grace?"11 Is Scheeben, in other words, a Neo-Scholastic, even "the most precious flower ever granted to the spring of Neo-Scholasticism,"12 as he was called in the first major study of his theology produced in the twentieth century? Or is he, instead, to be classed with the theologians of the Tübingen School who, under the influence of Romantic Idealism, sought to renew Catholic theology through... (shrink)

ABSTRACTWith the recent revival of moral intuitionism, the work of W. D. Ross has grown in stature. But if we look at some recent well-regarded histories, anthologies and companions of analytic philosophy, Ross is noticeably absent. This discrepancy of assessments raises the question of Ross’s place in the history of analytic philosophy. Hans-Johann Glock has recently claimed that Ross is not an analytic philosopher at all, but is instead a ‘traditional philosopher’. In this article, I will identify several (...) undeniable features of analytic philosophy that Ross’s work bears: a focus on linguistic analysis, great respect for pre-theoretical thoughts, the conviction that philosophy is a collaborative, piecemeal enterprise and so on. Such an investigation, I claim, reveals two historically significant results: Ross was the first ethicist to fully draw from commonsense beliefs about morality in light of characteristic analytic considerations to secure his theory. Two, concerning the matter of whether the notion... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Trauma, Recognition, and the Place of LanguageJuliet Mitchell (bio)Definitions of trauma abound within the psychoanalytic discipline. My own definition is going to be simple. A trauma, whether physical or psychical, must create a breach in a protective covering of such severity that it cannot be coped with by the usual mechanisms by which we deal with pain or loss. The severity of the breach is such that even (...) if the incident is expected, the experience cannot be foretold. We cannot thus make use of anxiety as a preparatory signal. The death of a sick relative, the amputation of a diseased limb may be consciously known about in advance, but if they are to be described as traumatic then the foreknowledge was useless. In trauma we are untimely ripped.Whether it is as childhood seduction, infantile abuse, shell shock, or war violence, or as a preoccupation with the place of neoteny and the trials of human birth, trauma is continually posited as the hypothetical “origin” of psychic states. However, although “trauma” is crucial to psychoanalytic theory, trauma in itself is not really the focus of its analysis. Freud proposed a “biological bedrock” on which psychic states were formed, but this bedrock was not the object of psychoanalytic inquiry. I suggest that what emerges as a motif in the many retheorizings of psychoanalysis time and again, as another “bedrock,” is trauma. One might call it an “experiential bedrock.” As with biology, it is crucial—but as the area of another mode of inquiry. Psychoanalysis is equipped to contribute to the understanding of the reaction to trauma, not to the trauma itself.In a colloquial context we tend to look from the perspective of the observer and label a range of difficult or tragic occurrences “traumatic.” Instead, I want to define trauma from the perspective of the person who experiences it. This means both that the same event will not always be traumatic for different people, and that the experience of different events, if they are experienced as trauma, will be the same whatever the event and whoever the sufferer. It was essentially for this reason that Freud eventually disagreed with the rich findings of Otto Rank, who proposed the trauma of birth as the origin of mankind’s neurosis. Trauma is the great equalizer. What differentiates us, since we were all born? Furthermore, what appears to be the trauma from the observer’s perspective may, from the viewpoint of the psychic response of the recipient, only be the catalyst that brings to the surface an experience which, were it not for this later event, might not in itself have been traumatic (or vice versa). Even so extreme an experience as the Holocaust may not breach the defenses of a particular individual. The catalytic event in the present triggers an earlier occurrence which becomes traumatic only by virtue of its retrospectively endowed meaning.Probably all animate matter can be traumatized; it would seem likely that the response to the breach in the human defensive system takes place at a generalizable psychosocial level. Recognition and language are interactional social processes; without another person neither a psyche nor language is possible. Object relations analysts, notably D. W. Winnicott, whom Max Hernandez addresses in his paper in this issue, have devoted their work to aspects of the psyche, Lacanians to language. To me the fields are interdependent and gain from being looked at together, both in their practice and in the theories that can [End Page 121] be applied to them. When we have a physical trauma it is common for an immediate aftereffect to be some uncertainty about words; even the ability to spell correctly can temporarily disappear. There are undoubtedly physiological explanations for this. But I shall argue that there are psychological parallels. Every patient whom I would regard as having had some relevant form of trauma had a specific relationship to language, and it is this that concerns me. In addition, Max Hernandez describes the breach in the defenses caused by the anal rape of a patient when he was a young boy. But neither the patient’s symptom nor his complaint on coming to a therapist for treatment pertains to... (shrink)

The encounter of different non-Arab nations and cultures with Arabs due to conquest and translation activities contributed to the development of Arabic language rules and caused erroneous readings in recitation and expression problems in hadiths and the deterioration of the Arabic language from different perspectives. Against this, some precautions were taken for the preservation of classical Arabic, such as the development of writing, the determination of grammar rules, the support of poets and lexicon studies. One of the measures taken is (...) to set standards for classical language and to draw attention to the uses that do not comply with these standards. Since the middle of the II/VII century, many works have been written in different content and style on language mistakes made in speeches and written texts, with subject headings such as "Laḥnü'l-ʻâmme, Mâ telḥanu fîhiʼl-ʻâmme, laḥnü'l-ʻavâm, laḥnü'l-havâṣ". These works not only contribute to the preservation of the language, but also provide the opportunity to monitor the changes in the words and expressions used in the period they were written. In this context, one of the written works is Ebü'l-Abbâs Sa'leb's language book called Kitâbü'l-Faṣîḥ. Although the work in question has many merits, the most important aspect is the determination of the language spoken among the people in the work and the presentation of the most eloquent one to the reader. The work has gained an important place in the field of laḥn and taṣḥîḥ literature with its rich vocabulary, rich and useful materials for dictionary and dictionary studies, and being a source for many works in the field. The work, which attracted great attention by scholars, has been handled with studies such as şerḥ, ḥâşiye, naḳd, zeyl, iḫtisâr and nazm at different times and in different scientific environments, and is accepted as one of the important works in the field. (shrink)

: It is often assumed that the best way to learn about an object involves observing it. That is why teachers bring live ferrets to the nature table. However, what is often assumed may not always be true. Why visit a place when you can watch a film about it? A film is cheaper and might do a better job of delivering the salient information.This article discusses the impact of this issue on the role of live performances in disseminating (...) music. Suppose you want to get to know some unimprovised musical work intended for concert performance. Must you see it live? Or would a decent recording do?The author argues that, most of the time, recording technology offers a mode of access to the work's musical properties that is at least as good as the access that a live performance can offer. This does not mean that concert performances are a waste of breath. But it means that we should be careful about the claims we make for them, especially in music education. It also means that musicologists and music educators should channel more energy than they do into understanding and promoting the distinctive analytical tools that the playback experience provides. (shrink)

Researchers and other professionals unanimously agree that companies should become more sustainable, but this will not happen without the support of human resource management. Paradoxically, there is a lack of information on the support human resource management offers to organizational sustainability applied to real cases. Therefore, this research presents a case study on this topic that was carried out in a leading Brazilian company, which is considered as a model and has been selected as ‘the best place to (...) class='Hi'>work in the country’. The results provide practical examples of how this family company has been working to guarantee an increasingly sustainable performance with the support of human resources, highlighting the achievements and challenges the company has faced. One of the main results indicates that companies seeking to achieve sustainability need the assistance of the human resource field in order to design a communication system which bridges the gap between practices and sustainable values. (shrink)