Reviewed Works:Murray G. Bell, J. Streprans, S. Watson, Spaces of Ideals of Partial Functions.Alan Dow, Compact Spaces of Countable Tightness in the Cohen Model.Peter J. Nyikos, Classes of Compact Sequential Spaces.Franklin D. Tall, Topological Problems for Set-Theorists.

Today’s film scholars draw from a dizzying range of theoretical perspectives—they’re just as likely to cite philosopher Gilles Deleuze as they are to quote classic film theorist André Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming. _Thinking in the Dark _introduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather (...) than just discussing each theorist’s ideas in the abstract, the book shows how those concepts might be applied when interpreting specific films by including an analysis of both a classic film and a contemporary one. It thus demonstrates how theory can help us better appreciate films from all eras and genres: from _Hugo _to_ Vertigo_, from _City Lights _to _Sunset Blvd._, and from _Young Mr. Lincoln_ to _A.I. _and _Wall-E_. The volume’s contributors are all experts on their chosen theorist’s work and, furthermore, are skilled at explaining that thinker’s key ideas and terms to readers who are not yet familiar with them. _Thinking in the Dark _is not only a valuable resource for teachers and students of film, it’s also a fun read, one that teaches us all how to view familiar films through new eyes. Theorists examined in this volume are: Rudolf Arnheim, Béla Balázs, Roland Barthes, André Bazin, Walter Benjamin, Judith Butler, Stanley Cavell, Michel Chion, Gilles Deleuze, Jean Douchet, Sergei Eisenstein, Jean Epstein, Michel Foucault, Siegfried Kracauer, Jacques Lacan, Vachel Lindsay, Christian Metz, Hugo Münsterberg, V. F. Perkins, Jacques Rancière, and Jean Rouch. (shrink)

This commentary compares clinical aspects of ketamine with the amphetamine model of schizophrenia. Hallucinations and loss of insight, associated with amphetamine, seem more schizophrenia-like. Flat affect encountered with ketamine is closer to the clinical presentation in schizophrenia. We argue that flat affect is not a sign of schizophrenia, but rather, a risk factor for chronic schizophrenia.

This article discusses implicit conceptions of reticence in the early philosophical writings of Mikhail Bakhtin. Contrary to the image of Bakhtin as a thinker of dialogue, polyphony, and voice, it finds a strand in Bakhtin's thought that suggests that there might be good reasons for remaining silent and not stepping into the world in speech: in reticence, the human being avoids both judgment and being judged, eludes the risk of the addressee's absence or unreliability, and resists the finality of utterance (...) that shares in the finality of death. This essay makes a case for a Bakhtinian apology for quietism and seeks to contribute to recent work in Common Knowledge on that subject. Bakhtin's conception of reticence is usefully understood with reference to threshold situations: in withholding a future word, a human being hovers on the borders of nonbeing and being, on the borders of the present, future, and past. In this sense, reticence is allied to conceptions of fuzziness and blur that have also been concerns of this journal in recent years. In making these claims, the essay relates Bakhtin's thought to a Russian literary tradition of thinking about silence (Tiutchev's and Mandelstam's Silentium poems), as well as to a more broadly European intellectual context (Arendt and Heidegger, for example), where thinkers understand being in terms of becoming and understand disclosure through speech. (shrink)

Augustine and his legacy have much to answer for, but these essays show that the body of his work also has much to offer as feminists explore, challenge, and reframe his thinking while forging new paradigms for construing gender, power, and ...

Why Agamben? -- Key ideas -- Language and the negativity of being -- Infancy and archaeological method -- Potentiality and the task of the coming philosophy -- Politics : bare life and sovereign power -- The homeland of gesture : art and cinema -- The laboratory of literature -- Bearing witness and messianic time -- After Agamben.

The standard story about self-control states that self-control is limited, aversive, and that the function of self-control is to resist impulses or temptation. Several cases are provided that challenge this standard story. An alternative, future-oriented account of self-control is defended, where the function of self-control is to manage interference that arises from overlapping information processing pathways. This provides a computationally tractable account of self-control rooted in one’s being vigilant. Self-control manifests the maintenance dimension of vigilance. This not only provides an (...) attractive alternative to the standard story about self-control, but also indicates how the future-oriented aspects of self-control are more fundamental than the present-oriented aspects. (shrink)

The ideas of economists and political philosophers, both when they are right and when they are wrong, are more powerful than is commonly understood. Indeed the world is ruled by little else. Practical men, who believe themselves to be quite exempt from any intellectual influences, are usually the slaves of some defunct economist. Madmen in authority, who hear voices in the air, are distilling their frenzy from some academic scribbler of a few years back. We have changed, by insensible degrees, (...) our philosophy of economic life, our notions of what is reasonable and what is tolerable; and we have done this without changing our technique or our copybook maxims. Hence our tears and troubles. (shrink)

This volume is required reading for those seeking a compelling defense of the Christian faith.

Pre-Socratic philosophy. - Plato. - Aristotle. - Post-Aristotelian philosophy. - The Theory of art: Quintilian, Longinus, and Philostratus. - Plotinus. - The lesser Neoplatonists. - Neoplatonic views of three early Christians. - Mediaeval descriptive psychology. - The psychology of the mystics. - Dante's theory of vision. - Conclusion.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 227-229 [Access article in PDF] Philip Pothen. Nietzsche and the Fate of Art. Aldershot, England: Ashgate, 2002. Pp. x + 235. Paper, $29.95. Most scholarship argues that Nietzsche grants art a position of vital importance for culture, history, and philosophy. Philip Pothen seeks to challenge this general view of Nietzsche [End Page 227] while at the same time raising new questions (...) about Nietzsche's thoughts on art and how Nietzsche's views on art relate to his philosophical concerns. He does not locate Nietzsche's "deep suspicion and at times hostility" (1) toward art in a specific period of Nietzsche's thought, but instead traces it from the notebooks of the 1870s through Nietzsche's so-called "positivist period" to the very end of his productive life. The result is an honest attempt to recognize Nietzsche's ambivalent and at times hostile attitude toward that which is often times unquestionably admired.Although the Birth of Tragedy is the central text for most scholarship about Nietzsche's thoughts on art, this scholarship does not generally look to contemporaneous unpublished private writings. By conducting a close reading of Nietzsche's first published work in juxtaposition with selections from the Nachlass, Pothen shows that even as early as the 1870s, Nietzsche was developing some of the major themes of his subsequent writings on art. Nietzsche had begun to make decisive breaks with conceptual presuppositions inherited from Schopenhauer and the Kantian philosophical framework as well as from Wagner.Nietzsche's earlier belief in a rebirth of the Dionysian through works of genius such as Wagner's was severely criticized by Nietzsche himself in his 1886 Preface to the Birth of Tragedy. The second chapter of this book looks at Nietzsche's criticism of the concept of "genius" and the recognition of the "death of art" in modern artists such as Wagner. Pothen shows that Nietzsche gives a highly naturalistic account of genius, criticizing traditional notions that elevate the genius to a higher status than the merely talented artist.According to Pothen, the decadence of modern art, the deception of the artist, and the "end of art" suggests a type of "sickness" for Nietzsche. Art "represents a suppression of the instincts of becoming" (56). Pothen claims the future of art and its possible "death" are much more severe for Nietzsche than, for instance, Hegel. The challenging conclusion is that Nietzsche, not Hegel, properly announces the "death of art" in modernity.What, however, of the "monological work of art" that Nietzsche first formulates in the Gay Science? By considering the fourth part of Thus Spoke Zarathustra as a decisive conclusion and not an inferior appendage, Pothen argues that this work "for All and None" illustrates "a radical and perhaps impossible orientation" (9) that the godless artist must take up according to Nietzsche. It is a creative position "in favor of solitude [Einsamkeit], forgetting [vergessen] and inner strength" (74).Chapter four of Pothen's book addresses the concept of the "will to power." Pothen argues that it is a "metaphysical principle" of explanation that nevertheless undermines certain other metaphysical concepts such as a unified "subject" as well as traditional aesthetic concepts such as artistic autonomy. Pothen challenges Heidegger's claim that art is the "highest expression" of the will to power for Nietzsche while utilizing Heidegger's insights into art to highlight and question previous themes in the book such as the reduction of art to physiology (117-32).Chapter five concentrates on Nietzsche's analysis of the psychology of production and his critique of the Kantian themes of "disinterestedness" and the "judgment of taste." The book ends with a look at Nietzsche's final productive year of 1888. In works such as The Case of Wagner, Nietzsche, Pothen suggests, holds decadent works such as Wagner's as representative of all art produced "in the time of the death of God and the revaluation of all values" (169). For Nietzsche, modernity's inability to understand its own time might "herald the death or the end of this art of works... (shrink)

In 1997, the American Academy of Pediatrics issued a policy statement strongly supporting the physiological benefits conferred by human milk. It recommended that infants be breastfed for 12 months and called for employers to support breastfeeding. The following year, federal legislation was formulated to facilitate breastfeeding among women in paid work. Although both these events represented significant developments in the U.S. context, they nevertheless posed potential gender equity concerns. This article explores the National Organization for Women's response to these developments. (...) In doing so, it also examines the way in which the issue of breastfeeding and women's labor market involvement was addressed in equal-treatment/special-treatment debates in the previous decade. The article concludes by arguing that “equality and difference” discussions need to be extended to provide a new theoretical and practical framework for achieving equity in the workplace that would also accommodate the needs of women who wish to breastfeed or to express/pump breast milk. (shrink)

The author argues that Michael Polanyi’s philosophy of science can be understood as an (unconscious) attempt to recapture elements of experience largely forgotten or repressed in modernity. Specifically, the author argues that Polanyi’s epistemology appears to draw on elements of oral—aural experience that have been relatively ignored by the heavily visual sensory orientation typical of modern Western societies. The author does this by first deriving the primary features of the modern objectivist conception of knowledge from Polanyi’s critique of objectivism and (...) then using the anthropological literature on the differences between oral and literate cultures to demonstrate that these same aspects of the objectivist paradigm correspond closely to typical features of literate, visual consciousness while Polanyi’s alternative formulations correspond to a more oral—aural orientation. (shrink)