Grounded in a close reading of the records of Joan's trial and rehabilitation, on the early letters announcing her arrival at Chinon, and on three literary works; Christine de Pizan's Ditié, Martin le Franc's Le Champion des dames, and Alain Chartier's, Traité de l’Esperance, this controversial work argues that serious historians should accept that Joan was trained. It proposes that she was identified and taught how to behave in the expectation of the fulfillment of the Charlemagne Prophecy and (...) other prophecies from the Joachite tradition. It explores the possibility that Christine de Pizan, who had been promoting these prophecies from the beginning of the century, had some hand in the process that resulted in Joan's appearance and demonstrates, at the very least, that there are many links connecting Christine de Pizan to the knights who fought with Joan. (shrink)

Joan of Arc was as a mere 13-year-old girl when she first heard voices and saw visions of the Archangel Michael, Saint Catherine of Alexandria, and Saint Margaret of Antioch in her fathers garden. Both of her female saints were popular in the Middle Ages when these hallucinations began and she would have been familiar with their images as displayed in the local church in Domremy. But it is difficult to understand how a young and inexperienced girl could produce, (...) accept, and follow through on the daunting charge to save France from English incursion during the Hundred Years War, notably in the Battle of Orleans. Was she divinely inspired, mentally ill, or an intuitive genius with paranormal powers of perception? This paper will discuss previous theories by literary figures, as well as by scientists, both past and present, to shed modern neuroscientific insights onto her powers of perception. (shrink)

This article examines Artaud's 1920s cinema texts, arguing that like other theorists writing at the time, Artaud envisaged the medium of cinema as capable of forging new types of corporeal experience, both through the types of bodies that were portrayed onscreen, and their relationship to the body of the audience, conceived as collective force rather than an individual spectator. It pays particular attention to Artaud's theories of corporeal materiality, and argues that these are relevant to more recent approaches to embodiment (...) and identification in film studies. Whilst Artaud never successfully put his own cinematic theories into practice, these are discussed in relation to Carl Theodor Dreyer's The Passion of Joan of Arc ( La Passion de Jeanne d'Arc , 1928), a film which puts distinctions between bodies into question in an unprecedented manner. Finally, through an analysis of the various different critical interpretations of Dreyer's film, the article considers the difficulties inherent in the notion of a universally intelligible affective body, arguing that there is a distinction to be made between a fascist appropriation of collective affect, and a type of body that overcomes the boundaries between self and other. (shrink)

The beginning of the typical Miranda warning—“You have the right to remain silent. Anything you say can be used against you in a court of law”—is also a fair statement of the medieval right to silence that can be deduced from the canonical rules of due process, and such a warning could and should have been given to arrestees in inquisitorial proceedings. In such proceedings the judge was obliged to give any detained or summoned person a precise statement of the (...) charged crime, to explain the nature of the charges, to allow or provide counsel and other defenses, and to prove that the person was considered guilty of the crime by respectable members of the community before insisting on a response to the charges or to any questioning. If the judge ignored these preliminary procedures and proceeded to interrogation, and persisted even after protest, the defendant could refuse to cooperate by declaring himself or herself aggrieved and entering an immediate appeal. (shrink)

This paper aims to investigate some important elements of the thought of George Bernard Shaw, more commonly known as one of the most famous playwrights of the twentieth century. Shaw’s philosophy dwells on the relationship between man and nature and especially the concept of freedom. Among all his works, it was decided here to analyse Saint Joan. In re-imagining the historical Joan as a heroine in a play of ideas, Shaw made use of the known facts about (...) class='Hi'>Joan of Arc and Joan’s statements at her trial. Nonetheless, he made changes to emphasize her personal dignity and independence by contrast with the tyranny of institutions. Although he departed from the historical background, whitewashed her adversaries, and condensed episodes in Joan’s biography, he sought to be true to her confidence, courage, integrity, and common sense. His theatrical presentation is, in some respects, at odds with the Preface that accompanies the published play. (shrink)

If Joan of Arc were to be reincarnated as an American atheist, she'd be Voltairine de Cleyre. De Cleyre is an almost forgotten figure, but she committed her life to a vision of human liberation, a vision which encompassed even the man who tried to kill her. She was an incandescent writer and an original thinker, though she also lived much of her life in despair to the point of suicide.

Dès le début du xixe siècle, Jeanne d’Arc connaît la célébrité dans toute l’Europe. Élevée au pinacle, installée au panthéon des Français, elle devient un sujet en or pour les compositeurs et leurs librettistes, parce qu’elle permet d’aborder les thèmes les plus divers, de l’héroïque au religieux en passant par le pastoral et le tragique. Elle fait l’objet de nombreuses mises en scène dans des genres musicaux aussi variés que l’opéra, l’opéra-comique, le ballet, la mélodie, la pantomime ou le théâtre (...) en musique. La question centrale qui se pose pour chaque compositeur est la suivante : comment représenter Jeanne d’Arc, cette « figure sublime »? Comment donner voix à une héroïne que l’on a vue sous tous les jours, tour à tour grandiloquente, simple et pieuse, puis égérie nationale avant de devenir sainte en 1920? Au travers d’une étude sur la voix donnée à Jeanne, dans deux œuvres majeures du répertoire qui lui a été consacré, Giovanna d’Arco de Verdi, créée à la Scala de Milan en 1845, et Jeanne d’Arc au Bûcher de Paul Claudel et Arthur Honegger, créée à Bâle en 1938, nous essaierons de déceler l’esprit d’une époque, et par là de mieux distinguer quelques-unes des facettes données à la Pucelle d’Orléans. (shrink)

A guide to the different views of Joan of Arc as they have varied from her time until World War II, with emphasis on the political and ideological shifts which lay behind them. The chief chroniclers, sources, and commentators are referred to and their viewpoints briefly described. The author emphasizes the fairness of her trial by the standards of her day, and the political motives underlying her rehabilitation. Joan, he concludes, was a highly complex character, and in her (...) story the judgment of history and the judgments of partisans are inextricable.--A. R. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Witness of the Body: The Past, Present, and Future of Christian Martyrdom ed. by Michael L. Budde and Karen ScottElizabeth Sweeny BlockWitness of the Body: The Past, Present, and Future of Christian Martyrdom Edited by Michael L. Budde and Karen Scott Grand Rapids, Mich.: Eerdmans, 2011. 238 pp. $22.00In Michael L. Budde’s introduction to this volume, he asserts its twofold purpose: to identify criteria for distinguishing authentic Christian (...) martyrdom from inauthentic and to return martyrdom to a more central place in Christian life. This collection of essays—some of which were presented as part of a lecture series at DePaul University during the 2006–7 academic year—aspires to reconsider and redefine martyrdom in order to remove both the “freak-show element” and the “heroic exceptionality” associated with martyrdom in modern culture (viii). The goal of the volume, which is part of the Eerdmans Ekklesia Series, is to resituate martyrdom within the everyday life of the church, and the majority of the essays argue for the ongoing significance of a revised martyrdom for this distinctive community. These eleven essays are as much about martyrs themselves as they are about how martyrdom is perceived, received, and remembered. The interdisciplinary volume [End Page 211] is successful in encouraging a broader understanding of martyrdom, one that may not necessarily include death, and in drawing attention to the ongoing need for memorializing Christian martyrs to inspire commitment and transformation.The volume is divided into four parts representing both chronological and substantive distinctions. Part 1, “Martyrdom as the Church’s Witness,” introduces the problem of isolating the requirements of martyrdom and defining who fits into this category, a challenge addressed throughout the volume. Part 2, “Martyrdom Builds the Church,” discusses positive elements of martyrdom, especially with respect to the value of women’s bodies, drawing on both the early female martyrs in general and Joan of Arc in particular. Part 3, “Martyrdom Destroys the Church,” recounts some of the most difficult aspects of modern martyrdom, calling for a more accurate history and recognition of the emergence of a new kind of martyrdom in which one’s loyalty is to country, not faith. Part 4, “Martyrdom and the Future Church,” calls attention to the need to continue celebrating the memory of martyrs and describes the contemporary Christian martyr as a peacemaker not seeking martyrdom in the traditional sense of the word.What stands out as a theme across a number of the essays, and what I judge to be a valuable contribution to Christian ethics, is an emphasis on the way martyrs live(d), suggesting that what can and should be emulated by Christians today is a commitment to action on behalf of conversion and transformation. Tripp York’s essay rightly argues that martyrdom need not be viewed as merely reactionary, as a way of life in opposition to something, but as transformative and “for the sake of the world” (37). Michael Budde makes a similar assertion that martyrdom is better defined as deep loyalty than as treason, thereby suggesting that this kind of loyalty to Christ ought not to be limited to the special calling of a few but seen as the commitment of all Christians. Stephen Fowl’s essay conveys the meaning of the title of this volume, identifying martyrdom as part of the larger practice of “believers’ witness of the body to God’s drama of salvation” (44). He argues that in life or death, one can magnify Christ, and one’s bodily actions and responses can reflect one’s character and commitments. Emmanuel Katongole provides powerful recognition of the ways in which Christian martyrs “keep the church from sleeping” (193) and “embody the mundane gestures and practice of peaceableness in their everyday living” (199). This volume succeeds in shifting the focus from martyrdom in the traditional sense—being put to death because of one’s faith—to the ways Christians today remember, respond to, and emulate the lives and actions of martyrs. [End Page 212]Elizabeth Sweeny BlockUniversity of ChicagoCopyright © 2013 Society of Christian Ethics... (shrink)

The article discusses the portrayal of Éowyn in Tolkien’s The Lord of the Rings in the light of the biblical tradition of the warrior woman. The author focuses on the scene in which Éowyn slays the Nazgûl Lord in the battle of the Pelennor Fields with the help of Meriadoc. This event is juxtaposed against the biblical descriptions of female warriors, in particular Jael and Judith. A detailed analysis of passages from the King James Bible and the Douay-Rheims Bible, with (...) which Tolkien was familiar, allows the reader to detect numerous affinities between his vocabulary and imagery, and their biblical antecedents. Filipczak contends that, by defending the body of the dying Théoden, Éowyn defends the whole kingdom; her action can be interpreted in the light of The King’s Two Bodies by Ernst Kantorowicz. Her threat to the Ringraith makes use of the verb that can be found in the descriptions of Jael and Judith in the Protestant and Catholic Bibles respectively. Furthermore, Éowyn’s unique position as a mortal woman who achieves the impossible and thus fulfills the prophecy paves the way for a comparison with the Virgin Mary, whose Magnificat contains elements of “a holy-war song” which were suppressed by traditional interpretations. Consequently, the portrayal of Éowyn blends the features of Jael, Judith and Mary with allusions to St. Joan of Arc. Moreover, her act of slaying the Ringraith’s fell beast reinterprets the story of St. George and the dragon. Filipczak argues that Éowyn’s uniqueness is additionally emphasized because she acts out Gandalf’s words from Minas Tirith and sends the Nazgûl Lord into nothingness. (shrink)

:Given its capacity to stimulate the imagination and resonate across a wide spectrum of human experiences, sacrifice has always attracted filmmakers. From Dreyer's The Passion of Joan of Arc to Pasolini's Mamma Roma to Tarkovsky's Sacrifice to many of Ozu's films to Kar Wai Wong's In the Mood for Love or to Lars von Trier's Breaking the Waves and Bruno Dumont's La Vie de Jésus, to give just a few examples, sacrifice has nourished, informed and shaped filmmaking. Sacrifice is (...) a fundamental human act, and cinema has always, in some way or another, danced around it. Yet that's not all. In a world like ours from which the gods have mostly withdrawn, but people haven't stopped feeling the need to believe, in an important sense film has taken over the myth-factory. It's on screen that the post-Christian grand narratives are sketched, the new myths rehearsed, and the old ones recycled. Our contemporaries may no longer be church-goers, but they go to the movies religiously. And the sacrificial theme makes.. (shrink)

In this essay, I consider the significance of Daniel Bensaïd’s work on Jeanne d’Arc with regard to dealing with the “difficult times” in which we live. (1) I first consider some of the background in early critical theory in order to show that Bensaïd’s aim to recover Benjamin’s notion of a “weak messianic power” requires following through with Horkheimer and Adorno’s critique of enlightenment, and that this implies a critical rehabilitation of myth and mythopoesis. (2) Approaching Bensaïd’s account of Jeanne (...) in the light of Blumenberg’s notion of “work on myth”, I show how he portrays her in a way that establishes a concrete connection between the discordant temporalities of contingency and necessity, but that this is best understood in the radically immanent terms of prereflective embodied action as based on the corporeal sedimentation of an intercorporeal ethical habitus. Bensaïd’s account of Jeanne thus offers a new lens of historical perception that can help reveal otherwise hidden possibilities for transformative historical agency in embodied coexistence today. (3) By way of conclusion, I briefly consider the deeper meaning and significance of this in terms of offering a non-Promethean mythico-political framework. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Psychopathy, Other-Regarding Moral Beliefs, and ResponsibilityLloyd Fields (bio)AbstractIn this paper I seek to show that at least one kind of psychopath is incapable of forming other-regarding moral beliefs; hence that they cannot act for other-regarding moral reasons; and hence that they are not appropriate subjects for the assessment of either moral or legal responsibility. Various attempts to characterize psychopaths are considered and rejected, in particular the widely held view (...) that psychopaths are, in general, incapable of understanding moral concepts. The particular disability proposed here, the incapacity to form other-regarding moral beliefs, is then derived from an analysis of what is required for someone to be a responsible agent. This is illustrated with a detailed case history. A defect of this kind is shown to vitiate moral responsibility, because it renders the psychopath irresponsive to the social pressures which normally ensure respect for moral norms. It is also shown that the psychopath is not a suitable subject for the assessment of legal responsibility, because he lacks the capacity to act from common prudence to avoid sanctions. I conclude that the attempt to characterize particular defects from among the heterogeneity of psychopathic subjects, could lead to better targeted, and hence to more effective, management of particular cases.KeywordsCriminality, mental illness, personality disorder, blame, liability, moral beliefs, guilt, social moralityIntroductionThe term “psychopath” has been used with a wide variety of different meanings and, no doubt, covers a heterogeneous group of subjects (Criminal behaviour and mental health 1992). My aim in this paper is to argue that at least a subgroup of those subjects are characterized by an inability to form other-regarding moral beliefs—and hence, for this particular reason, are not morally responsible agents—and that they also lack the capacity for prudence, and hence are not legally responsible agents.I begin by distinguishing the particular sense in which I will be using the term “psychopathy.” I then consider some suggestions in the literature regarding the defect by which psychopaths might be characterized—that they are mentally ill, or incapable of understanding moral concepts. In rejecting these, I come to the suggestion that the relevant defect is an inability to form other-regarding moral beliefs, a defect which is graphically illustrated by a case report from the literature. I explore the implication of this kind of defect for [End Page 261] moral responsibility as a socially-embedded notion, and the implication of the psychopath’s inability to exercise prudence in relation to legal liability.Nothing in this paper should be taken to suggest that psychopaths are irredeemable. On the contrary, as I argue in an endnote, correctly characterizing the defect from which they suffer leads directly to forms of treatment whose effectiveness has acquired a measure of empirical support.The Nature of PsychopathyPsychopathy is not a homogeneous concept; there are different types of psychopaths. For example, Henderson identified a type of psychopath who he classified as “Predominantly Creative,” exemplified by such figures as T. E. Lawrence and Joan of Arc. In people of this type genius is associated with heightened sensitivity, psychosexual immaturity and emotional instability (Henderson 1939, 108–20; Henderson and Gillespie 1969, 317). Predominantly creative psychopaths do not come within my purview.By “psychopathy” I shall mean the specific form of personality disorder described by Cleckley in his book, The Mask of Sanity (Cleckley 1964). Cleckley’s description forms the basis of Hare’s Revised (20-item) Psychopathy Checklist. The Checklist includes the following personality traits and deviant behaviors:1. Glibness/superficial charm.2. Grandiose sense of self-worth.3. Need for stimulation/proneness to boredom.4. Pathological lying.5. Conning/manipulative.6. Lack of remorse or guilt.7. Shallow affect.8. Callous/lack of empathy.9. Parasitic lifestyle.10. Poor behavioral controls.11. Promiscuous sexual behavior.12. Early behavior problems.13. Lack of realistic, long-term plans.14. Impulsivity.15. Irresponsibility.16. Failure to accept responsibility for own actions.17. Many short-term marital relationships.18. Juvenile delinquency.19. Revocation of conditional release.20. Criminal versatility (Hare 1986, 18). 1This conceptualization resembles in many respects the category of Antisocial Personality Disorder as described in the American Psychiatric... (shrink)

The people's theatre : a long drawn-out affair -- The cultural historic compromise -- The philosopher's tale : intellectuals and the trajectory of Gauchisme -- Joan of Arc in the Gulag -- The inconceivable revolution -- Factory nostalgia (notes on an article and various books) -- The ethics of sociology.

Daniel Bensaïd was a Marxist philosopher and author of an extensive body of works about political strategy. His writings combine a diversity of singular influences, such as Marx, Lenin, Trotsky and Che Guevara on the one hand, and Benjamin, Péguy and Blanqui on the other. In his work, religious heresies, Marranos, moles and emblematic figures of the resistance to oppression such as Joan of Arc meet with the classic figures of Marxism. The non-linear concept of time and messianic reason (...) support a strategic reading of history and an understanding of political commitment, following Goldmann’s interpretation of Pascal’s Wager as a wager of uncertain outcome. (shrink)

Two peculiarities of the film The Passion of Joan of Arc are explored in this essay: its unusual close-ups and its strongly expressive character. We start from the idea that both characteristics are closely related and we seek to clarify this relationship making use of Gilles Deleuze’s affection-image and Georges Didi-Huberman’s dialectical image.

This paper supports the burgeoning movement that looks to find affinities between Hans urs von Balthasar's theology and various liberation theologies. It does so by offering a “recontextualization” of Balthasar's thought. Specifically, it provocatively looks to recontextualize Balthasar as a theologian of the street. The argument proceeds in three stages: First, the meaning of “context,” and so the possibility of recontextualization, is discussed. While the term has become commonplace in contemporary “contextual theologies,”, the most rigorous analysis of context is found (...) not in theology, but in literary theory. Second, the particular locale of this particular recontextualization is discussed: the street. As sign, the street is ideologically and metonymically overdetermined. Here, Derrida, Goizueta, and Maeseneer are given as examples of thinkers who think with or from the street, who are contextualized by the street. Finally, the paper turns to specific instances in Balthasar's text that demonstrate his street contextualization: namely, his criticism of Rahner's martyrless Christianity and his discussion of the saints, particularly Joan of Arc. This section rejects those claims, epitomized by Murphy, that Balthasar's name signs a totally conservative context, and so completes my project of freeing space for the aforementioned liberatory movement to continue blossoming. (shrink)

The article focuses on the eponymous protagonist of Isobel Gunn, a Canadian feminist historical novel by Audrey Thomas, published in 1999. Based on a real story, the novel fictionalizes the life of an Orcadian woman who made her transit from the Orkney Islands to the Canadian north in male disguise, and was only identified as a woman when she went into labour. The article juxtaposes the novel against its poetic antecedent The Ballad of Isabel Gunn, published by Stephen Scobie in (...) 1983. In the article Gunn’s fate as a unique transvestite m in the Canadian north is compared to the fate of famous transvestite saint Joan of Arc. Though removed from each another historically and geographically, both women are shown to have suffered similar consequences as a result of violating the biblical taboo on cross-dressing. Isobel’s sudden change of status from a young male colonizer to the defenseless colonized is seen in the context of managing the female resources by colonial authorities. At the same time, the fact that Isobel allows herself to be deprived of her son is analyzed in the light of insights on the maternal by Julia Kristeva and Luce Irigaray. The absence of the mother and the ensuing condition of her offspring’s orphanhood are shown as a consequence of reducing the position of the mother to that of an imperial servant, the fruit of whose body can be freely used and abused by the male imperial authority. (shrink)

SummaryThis article addresses the appeal of saints and sainthood in the years 1945 to 1960. Part 1 cites the 1957 diary of Susan Sontag, who focused on the cultural power of the Roman Catholic Church and drew attention to three European women: Teresa of Avila, Edith Stein, and Frances Cabrini. Reasons that these three (all Catholic saints) would have been in Susan Sontag's mind in 1957 are explored. In Part 2, wider attention is applied to the year 1957. Writers who (...) were dealing with sainthood (Camus, Kazantzakis, Genet, Kerouac, O'Connor, Werfel, etc.) are discussed, as well as non-Catholics acclaimed as ‘saints’ (Simone Weil, Dietrich Bonhoeffer) and persons admired as ‘living saints’ (Albert Schweitzer, Padre Pio). Part 3 considers the influence of some major canonisations in the inter-war era (e.g., Joan of Arc, Thomas More) and the widespread access to Vatican spectacle afforded by photojournalism and newsreel. Four routes of analysis are pursued: the veneration of saints as a response to wartime suffering and loss; the vigour of the vocabulary of sainthood, uncontaminated by Nazi or Stalinist abuse; the special appeal of the ‘outsider’ saint; and the political interests of the Vatican and Christian Democratic parties. (shrink)

Organ donation after cardiac or circulatory death (DCD) has been introduced to increase the supply of transplantable organs. In this paper, we argue that the recovery of viable organs useful for transplantation in DCD is not compatible with the dead donor rule and we explain the consequential ethical and legal ramifications. We also outline serious deficiencies in the current consent process for DCD with respect to disclosure of necessary elements for voluntary informed decision making and respect for the donor's autonomy. (...) We compare two alternative proposals for increasing organ donation consent in society: presumed consent and mandated choice. We conclude that proceeding with the recovery of transplantable organs from decedents requires a paradigm change in the ethics of organ donation. The paradigm change to ensure the legitimacy of DCD practice must include: (1) societal agreement on abandonment of the dead donor rule, (2) legislative revisions reflecting abandonment of the dead donor rule, and (3) requirement of mandated choice to facilitate individual participation in organ donation and to ensure that decisions to participate are made in compliance with the societal values of respect for autonomy and self-determination. (shrink)

This collection by the distinguished Dutch historian Johan Huizinga reflects the theme of its key essay, The Task of Cultural History," throughout its pages. Huizinga's conception of cultural history informs both his essays on historiographic questions and those on such figures as John of Salisbury, Abelard, Joan of Arc, Erasmus, and Grotius. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. (...) These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Clinical trials are a central mechanism in the production of medical knowledge. They are the gold standard by which such knowledge is evaluated. They are widespread both in the United States and internationally; a National Institute of Health database reports over 106,000 active industry and government-sponsored trials (National Institutes of Health n.d.). They are an engine of the economy. The work of trials is complex; multiple people with diverse interests working across multiple settings simultaneously participate in them, and they are (...) underwritten by multiple organizational structures and diverse funding mechanisms. In the past several years, concern about the ethics of clinical trials has spiked dramatically .. (shrink)

Historical studies may become classics for the wrong reasons, as did Henry Thode's Francis of Assisi or Michelet's Joan of Arc, which we now regard as cultural icons in their own right, emblems of specific elements of the cultures of the era in which they were written. We do not, however, read them for the insight they provide into their declared subjects, nor are their conclusions those of current scholarship. Other studies become classics for the right reasons. The year (...) 1999 marks the eightieth anniversary of the publication of Johan Huizinga's Herfsttij der Middeleeuwen: Studie over levens- en gedachtenvormen der veertiende en vijftiende eeuw in Frankrijk en de Nederlanden, “The Autumn [or Harvest, or Waning, or Decline, or Evening] of the Middle Ages: A Study of the Forms of Life and Thought in the Fourteenth and Fifteenth Centuries in France and the Netherlands [or the Low Countries, or the Burgundian Low Countries].”. (shrink)

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

This essay explores the relationship between fact and faith developed by two cinematic representations of the trial and execution of Joan of Arc: Carl Theodor Dreyer's The Passion of Joan of Arc and Robert Bresson's The Trial of Joan of Arc. Both films are preoccupied with how to present evidence - the proof of Joan's supposedly divine visions - that is ultimately unverifiable, and turn this epistemological problem into their chief aesthetic concern. Through readings of Aquinas, (...) Susan Sontag, and Hayden White, the essay tracks what the stakes of such a problem might be, finding especially in Bresson's method a negative definition of truth or meaning through the sudden but persistent withholding of even its most pronounced historical, cultural, and material content. Whereas Dreyer's film pursues the total legibility of its subject through a constant focus on faces and gazes, showing us literally all that it can, Bresson's film insists on the integrity of that which is unseen, creating what I come to call a kind of meaning effect. (shrink)

Foreword: Synchronicity is more than a happy accident by Brian Tart -- The quest -- Cycles of history and the law of one -- What is synchronicity? -- Understanding the sociopath -- The global adversary -- Karma is real -- Reincarnation -- Mapping out the afterlife -- The hero and his story -- The first and second acts of the hero -- Facing your fear and completing the quest -- Joan of arc rises again -- The 2,160-year cycle between (...) rome and the usa -- Vietnam, watergate and the fall of the iron curtain -- The sky is not falling-only our blindfolds -- September 11th-from both sides of the veil -- The thirteen years' war repeats in america -- 9/11 and the defeat of the cabal-the cycle perspective -- History gets a wicked case of deja vu -- Fomenko's cycles of history-and the Book of Daniel -- Explaining the cycles and the fourth-density shift. (shrink)

Inside Notes From the Outside wrestles with issues that have loomed over anyone who has had to come to terms with concrete, pragmatic questions regarding identity within the interacting spheres of race, gender, class, and power. Based on the premise that discourse regarding these issues tend to be cast into a relationship of powerful vs. powerless, the author contends that power is not a fixed thing, but a subtle, complex matrix that shifts over time. A thoughtful approach toward issues of (...) cultural difference, Inside Notes From the Outside provides a sincere and uniquely interior perspective on identity formation. (shrink)

In “Ethics Consultation in U.S. Hospitals: Opinions of Ethics Practitioners,” Fox and colleagues note that despite efforts of the American Society for Bioethics and Humanities to impr...

A developmental study of free-classification behavior within the age range of 3-1/2 to 19 years indicates that categorical responses, which are characteristic of adult behavior, increase with age while overgeneralized responses, classifications including noncategorical instances, decrease with age. Overdiscriminated responses which are incomplete categorical classifications increase from 3-1/2 to 6 years and then decrease to 19 years of age. These results are discussed within a two-stage theory of conceptual development (Kendler, 1971).

Technology has become one of the main channels through which people engage in most of their everyday activities. When working, learning, or socializing, the affordances created by technological tools determine the way in which users interact with one another and their environment, thus favoring certain actions and behaviors, while discouraging others. The ethical dimension behind the use of technology has been already studied in recent works, but the question is often formulated in a protective way that focuses on shielding the (...) users from potential detrimental effects. Nevertheless, when considering collateral ethical benefits that the use of technology could bring about, virtue ethics and the notions of “practice” and “practical wisdom” present new opportunities to harness this potential. By understanding the combination of technology, its users and their interactions as a system, technology can be seen as the space where most of its users’ daily practice happens. Through this practice, users can get the chance to collaterally develop and enhance their ethical awareness, sensitivity and reasoning capabilities. This work is shaped as a manifesto that provides the background, motivations and directions needed to ask a complementary question about the ethics of technology that aims towards the potentiality behind the use of technology. Instead of focusing on shielding the users, the proposed _ethical idealist_ approach to the ethics of technology aims to empower them by understanding their use of technology as the space where the development of their practical wisdom, understood in the virtue ethics’ sense, takes place. (shrink)

Summary This paper explores the collecting practices of German Protestant missionaries who lived in southern India (c. 1710–1740) as part of the Danish-Halle mission. Asked by their patrons to describe local plants, in situ, these individuals did not respond by carefully studying and describing the plants themselves. Despite being in a position to do this work, instead they chose mostly to engage local residents in conversations about the cultures of the plants in question. These conversations revolved around the origins and (...) meanings of plant names. The missionaries used names, local histories and accounts of peoples as tools for understanding plants found in specific places and to resolve confusion over the similarities and differences between various kinds. They practiced a form of ethno-botany that made the culture(s) of plants accessible to those who would never be able to actually travel to the region. (shrink)

Repair has been a longstanding activity in human society. However, in modern times, the production strategy of “planned obsolescence” has led to a decline in product quality and lifespan, resulting in closed and non-repairable products. Additionally, advertising manipulates consumers' desires, leading them to prefer replacing old items with new ones rather than repairing them. This has resulted in issues such as overconsumption, massive waste, and recycling challenges. Nevertheless, many DIY repair enthusiasts promote repair activities through communities and online media, highlighting (...) the joy and creativity of repair. This unique relationship of care between people and objects extends the life of products and alters their original appearance and function, creating new possibilities to meet consumers’ needs. This study analyzes actual cases to explore how DIY repairers innovate during the repair process, reinterpret old items, and elucidate the interaction between people and objects. Furthermore, it argues that repair activities represent a radical approach to mitigating waste and are crucial for advancing sustainable development. (shrink)

This article considers Derrida’s and Ricœur’s take on the concept of haunting ( hantise ). Begining with Derrida’s use of the concept in Specters of Marx , the article then turns to Ricœur’s two rather distinct conceptions of the phenomenon of haunting ( hantise ) in Memory, History, Forgetting and in The Course of Recognition. After assessing the different uses of this concept in Ricœur’s work, the article frames a new understanding of this phenomenon, one that is suitable for the (...) social and historical sciences. (shrink)

We respond to Morgan and Feeley’s critique on our article “Mass Media in Organ Donation: Managing Conflicting Messages and Interests.” We noted that Morgan and Feeley agree with the position that the primary aims of media campaigns are: “to educate the general public about organ donation process” and “help individuals make informed decisions” about organ donation. For those reasons, the educational messages in media campaigns should not be restricted to “information from pilot work or focus groups” but should include evidence-based (...) facts resulting from a comprehensive literature research. We consider the controversial aspects about organ donation to be relevant, if not necessary, educational materials that must be disclosed in media campaigns to comply with the legal and moral requirements of informed consent. With that perspective in mind, we address the validity of Morgan and Feeley’s claim that media campaigns have no need for informing the public about the controversial nature of death determination in organ donation. Scientific evidence has proven that the criteria for death determination are inconsistent with the Uniform Determination of Death Act and therefore potentially harmful to donors. The decision by campaign designers to use the statutory definition of death without disclosing the current controversies surrounding that definition does not contribute to improved informed decision making. We argue that if Morgan and Feeley accept the important role of media campaigns to enhance informed decision making, then critical controversies should be disclosed. In support of that premise, we will outline: (1) the wide-spread scientific challenges to brain death as a concept of death; (2) the influence of the donor registry and team-huddling on the medical care of potential donors; (3) the use of authorization rather than informed consent for donor registration; (4) the contemporary religious controversy; and (5) the effects of training desk clerks as organ requestors at the Department of Motor Vehicles offices. We conclude that organ donation is a medical procedure subject to all the ethical obligations that the medical profession must uphold including that of transparency and truthfulness. (shrink)

Five recursively axiomatizable theories extending Kleene's intuitionistic theory FIM of numbers and numbertheoretic sequences are introduced and shown to be consistent, by a modified relative realizability interpretation which verifies that every sequence classically defined by a Π11 formula is unavoidable and that no sequence can fail to be classically Δ11. The analytical form of Markov's Principle fails under the interpretation. The notion of strongly inadmissible rule of inference is introduced, with examples.