Schober et al. describe two studies on how survey interview respondents misunderstand interview questions. After answering a survey, participants are given standardized definitions of the questions they have just answered. Even apparently simple questions such as “Have you smoked more than 100 cigarettes?” are interpreted very differently by participants. Moreover, clarifying the meaning of the definitions with the interviewer does not always help resolve the miscommunication.

Bd. 1. Absenz-Darstellung -- Bd. 2. Dekadent-Grotesk -- Bd. 3. Harmonie-Material -- Bd. 4. Medien-Popular -- Bd. 5. Postmoderne-Synästhesie -- Bd. 6. Tanz-Zeitalter/Epoche -- Bd. 7. Register und Supplemente.

Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 112 Heft: 1 Seiten: 243-246.

"Aie le courage de te servir de ton propre entendement!" écrit Immanuel Kant comme réponse à la question de savoir "Qu'est-ce que les Lumières? (Aufklärung)". Ce volume présente quelques exemples de la mise en pratique de son appel du XVIIIe au XXe siècle à travers des thématiques variées : "Les Lumières et leurs ombres", "L'éternel féminin dans l'espace de l'Eros", "La mort de Dieu", "Weimar à l'épreuve", "Antidotes contre la barbarie", "Humour et humanisme". Les auteurs étudiés ont en commun l'expérience (...) de l'exil ou de l'errance, et dans leurs vies la France a joué un rôle non négligeable. Il s'agit de Friedrich Schlegel, Friedrich Nietzsche, Raoul Hausmann, Ernst Cassirer, Lion Feuchtwanger, Max Horkheimer et Theodor W Adorno. Parmi leurs sources d'inspiration figure la philosophie des Lumières mais aussi l'héritage du judaïsme. Le choix des auteurs et des thématiques est certes sélectif et subjectif, mais il fait apparaître quelques reflets des Lumières dans la pensée allemande. (shrink)

For centuries, Burmese have looked to the authority of their religious tradition, Theravada Buddhism, to negotiate social and political hierarchies. Modern Buddhist Conjunctures in Myanmar examines those moments in the modern history of this Southeast Asian country when religion, culture, and politics converge to chart new directions. Arguing against Max Weber’s characterization of Buddhism as other-worldly and divorced from politics, this study shows that Buddhist practice necessitates public validation within an economy of merit in which moral action earns future rewards. (...) The intervention of colonial modernity in traditional Burmese Buddhist worldviews has created conjunctures at which public concerns critical to the nation’s future are reinterpreted in light of a Buddhist paradigm of power. Author Juliane Schober begins by focusing on the public role of Buddhist practice and the ways in which precolonial Buddhist hegemonies were negotiated. Her discussion then traces the emergence of modern Buddhist communities through the colonial experience: the disruption of traditional paradigms of hegemony and governance, the introduction of new and secular venues to power, modern concerns like nationalism, education, the public place of religion, the power of the state, and Buddhist resistance to the center. The continuing discourse and cultural negotiation of these themes draw Buddhist communities into political arenas, either to legitimate political power or to resist it on moral grounds. The book concludes with an examination of the way in which Buddhist resistance in 2007, known in the West as the Saffron Revolution, was subjugated by military secularism and the transnational pressures of a global economy. A skillfully crafted work of scholarship, Modern Buddhist Conjunctures in Myanmar will be welcomed by students of Theravada Buddhism and Burma/Myanmar, readers of anthropology, history of religions, politics, and colonial studies of modern Southeast Asia, and scholars of religious and political practice in modern national contexts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Three Moments in the Crisis of Exemplarity: Boccaccio-Petrarch, Montaigne, and CervantesKarlheinz StierleIn his recent book History as Topic Peter von Moos denies that there was any crisis for the exemplum in the Renaissance. 1 He strongly argues against my essay on “History as exemplum,” where I pointed out that in Montaigne, as earlier in Boccaccio, the pragmatic form of exemplum is put into question. 2 My main interest in (...) this essay, however, was not to mark a break between Middle Ages and Renaissance but to understand the way in which the correlation between sententia and exemplum was transformed into a more complex relation between moral reflection and particular case. Undoubtedly, since Valerius Maximus and his Factorum et dictorum memorabilium libri, there has always been, as in John of Salisbury’s Policratius, the possibility of questioning the exemplary truth of the exemplum by opposing it to a never-ending wealth of counter-examples. This, however, never puts into question the idea of exemplarity itself. The validity of the exemplum as a rhetorical form of narration that tends towards its own conceptual or ideological structure has an anthropological basis. It presupposes that over time, there is more analogy in human experience than diversity, or that in all situations of civil and political life the pole of equality is stronger than that of difference.Boccaccio’s novella is precisely the narrative form that puts this anthropological basis into question. Each novella in the Decameron is essentially a [End Page 581] particular variant of a more general conceptual scheme. The stress of narration, however, is not on the scheme itself but on the autonomy of the variant. Basically the novella is a form of rewriting in the mode of retelling, thus bringing an elementary narration to higher complexity. 3 Each of the “vari casi,” mostly of love-affairs, is a confrontation of exemplarity and contingency. It is the power of contingency or fortuna that brings forth the specific particularity of each novella. The art of the writer Boccaccio, whose primary fiction is oral story-telling, consists in giving aesthetic evidence to this particularity. Reading, not listening, is the form of reception that corresponds to this structure. That Boccaccio adds the other title “Il Prencipe Galeotto” to the Decameron is an allusion to Dante’s Divine Commedy where in the famous episode of Paolo and Francesca (Inf. V), Galeotto becomes the personification of the allegory of reading and its seduction.Contingency, or, in Boccaccio’s own medieval terms, fortuna, is the real poet of the novella. That is why the most important scenes of the novellas are those where the power of contingency comes to light: at the sea and in the city. The particular shape of novella, which results from a balance between contingency and significant configuration, emerges from contingency itself. Its configuration is a particular case of contingency, one that by its immanent structural elegance is aesthetically gratifying. It nevertheless leaves open the question whether there might not be a power of a superior kind behind contingency. Because there is an ambiguity between contingency and sense, the exemplary status of each story is, ironically, placed in question. Contingency overcomes exemplarity; however, it never triumphs definitely. The impact on the exemplum by contingency not only gives to each narrative case its difference or even autonomy, it also opens up a new temporal dimension. The exemplum seems to move in an essential time where all time-aspects are controlled and functionalized by a dominating conceptual structure. In the novella time becomes a primary structure. “Or avviene che” is the narrative formula for this new quality of narrative time, becoming a time of disruption and instability where things and situations may change in a moment for the better or for the worse.I would like to illustrate the structure of the Boccaccian novella by at least one exemplary case. Almost in the middle of the book—which means in the middle of its temporal space of ten days—we find the novella of Federigo degli Alberighi, considered to be one of Boccaccio’s finest (V, 9). Federigo, in a world of merchants and trade, is the perfect nobleman who ruins himself by his... (shrink)

In order to understand why analytic aesthetics has lost a lot of its former intellectual stature it is necessary to combine historical reconstruction with systematic consideration. In the middle of the twentieth century analytic philosophers came to the conclusion that essentialist theories of the “nature” of art are no longer tenable. As a consequence they felt compelled to move to the meta-level of conceptual analysis. Then they tried to show how a purely classificatory concept of art is used. The presupposition, (...) however, that there actually is such a concept can only appear plausible at first sight. Upon closer inspection it turns out to be utterly misguided. (shrink)

A wide variety of ontologies relevant to the biological and medical domains are available through the OBO Foundry portal, and their number is growing rapidly. Integration of these ontologies, while requiring considerable effort, is extremely desirable. However, heterogeneities in format and style pose serious obstacles to such integration. In particular, inconsistencies in naming conventions can impair the readability and navigability of ontology class hierarchies, and hinder their alignment and integration. While other sources of diversity are tremendously complex and challenging, agreeing (...) a set of common naming conventions is an achievable goal, particularly if those conventions are based on lessons drawn from pooled practical experience and surveys of community opinion. We summarize a review of existing naming conventions and highlight certain disadvantages with respect to general applicability in the biological domain. We also present the results of a survey carried out to establish which naming conventions are currently employed by OBO Foundry ontologies and to determine what their special requirements regarding the naming of entities might be. Lastly, we propose an initial set of typographic, syntactic and semantic conventions for labelling classes in OBO Foundry ontologies. Adherence to common naming conventions is more than just a matter of aesthetics. Such conventions provide guidance to ontology creators, help developers avoid flaws and inaccuracies when editing, and especially when interlinking, ontologies. Common naming conventions will also assist consumers of ontologies to more readily understand what meanings were intended by the authors of ontologies used in annotating bodies of data. (shrink)