We describe a patient LS, profoundly deaf in both ears from birth, with underdeveloped superior temporal gyri. Without hearing aids, LS displays no ability to detect sounds below a fixed threshold of 60 dBs, which classifies him as clinically deaf. Under these no-hearing-aid conditions, when presented with a forced-choice paradigm in which he is asked to consciously respond, he is unable to make above-chance judgments about the presence or location of sounds. However, he is able to make above-chance judgments about (...) the content of sounds presented to him under forced-choice conditions. We demonstrated that LS has faint sensations from auditory stimuli, but questionable awareness of auditory content. LS thus has a form of type-2 deaf hearing with respect to auditory content. As in the case of a subject with acquired deafness and deaf hearing reported on a previous occasion, LS’s condition of deaf hearing is akin in some respects to type-2 blindsight. As for the case of type 2 blindsight the case indicates that a form of conscious hearing can arise in the absence of a fully developed auditory cortex. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 19-30 [Access article in PDF] Bugged Out:A Reflection on Art Experience Christopher Perricone I used to enjoy art. Not all the arts equally. Overall literature spoke to me most clearly. I am not sure exactly why. I guess some combination of inborn and learned dispositions. Whatever is the case, my enjoyment of literature always seemed natural to me, since literature was (...) of a medium I already knew, the vocabulary and grammar of my own language. But I enjoyed paintings and musical pieces as well, some of which I shall never forget even though they have virtually faded from my life, from what I have become.I cannot say that I ever had a favorite artwork. I have always thought the idea foolish, reminiscent of children who think often in terms of favorites, whether colors, candies, or friends. However, there are some works that do stand out in memory, even though, as I say, I cannot bring myself to enjoy them now. They are ghosts whose forms are discernible, but whose flesh is long gone.I had read lots of literature. I even enjoyed the act and the atmosphere of reading. I remember the chair I sat in, the lighting, the room. I also used to love to wake up on weekends, eat a leisurely breakfast, and then get back into bed and read until noon. Of course the setting itself of reading was ultimately not crucial, it was merely a pleasant means of facilitating one's excursion into another world. It was the other world that counted. So many worlds. Of course, I entered joyfully the worlds of Shakespeare and Dante, which Harold Bloom recently has judged at the center of the Western canon, but I entered also lesser but personally not less significant worlds to which I was drawn. 1 I needed some tutoring in Shakespeare and Dante because they did not quite speak my language, my twentieth-century American tongue. I had trouble negotiating their worlds. However, I had none whatsoever when it came to the worlds of James Joyce, Wallace Stevens, William Carlos Williams, Graham Greene, Walt Whitman, T.S.Eliot, Herman Melville, Emily Dickinson, or Joseph Conrad. I was at home in these worlds, different [End Page 19] worlds, but nonetheless home. I loved Conrad's the "Heart of Darkness." For me this was one of the truly haunting tales. After my first reading of the "Heart of Darkness," I can honestly say, my life was changed. I neither talked nor walked the same. I moved among and around people and things differently. I saw myself differently both among others and when I would stand before my mirror alone. And subsequent readings brought about further changes, changes of my comportment in the world. I imagined that I saw, heard, touched, tasted, and smelled the details from the beginning of that story to its very end. I sat on the deck of the Nellie with Marlow, Conrad's character narrator, and his listeners. I watched with them as the sun went down over the Thames. I followed Marlow as he told the story of how he had "set off for the center of the earth," up the Congo perhaps where in his mind all human life had its source; how as he came closer to the center facts became less straightforward, the greed for ivory, the "flavor of mortality in lies," the hollowness of Mr. Kurtz, the final horror of it all. I sweated in the heat of the "Heart of Darkness." Like any experience of a masterpiece, the "Heart of Darkness" was a visceral experience for me. After such experiences one feels emotionally and physically drained. One feels comfort in thinking, as with a dream, it was not real. And yet there is a lingering discomfort: as it were no mere fantasy at all.I often had feelings of the same intensity and profundity in respect to painting and music. They, too, were worlds for me. I enjoyed the varioustouches of the painters. In particular, I enjoyed the gold, the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:TragedyA Lesson in SurvivalChristopher Perricone (bio)Tragedy and Its Historical Context"Tragedy" in the strict sense of the word refers to an ancient Greek literary genre, a form of drama for the most part performed publicly in the theater. As is well known, the word "tragedy" literally means "goat song." The belief among scholars is that early singers of tragedy wore goatskin costumes in imitation of satyrs. Also, as is well (...) known, Aristotle defines "tragedy" in the strict sense of the word as "the imitation of an action that is serious and also having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions."1 Of course, when one thinks of tragedy in the strict sense the names that come to mind are Aeschylus, Sophocles, and Euripides. It is arguable that these men not only set the stage for and developed the idea of tragedy in the strict sense, but they also laid the foundations of tragedy for centuries to come.After the Greeks, not surprisingly, tragedy evolves. The strict sense of the term as a point of reference, origin, or nucleus, remains—that is, after the Greeks, tragedy still retains that sense of "an imitation of an action that is serious." However, when one considers what later goes by the name of tragedy, one is hard-pressed, without resorting to Procrustean measures, to fit with any precision those later works of tragedy into the original Greek mold. After the Greeks, Seneca composes tragedies, as do Marlowe, Shakespeare, Corneille, Racine, Goethe, Schiller, Ibsen, Chekov, Lorca, Anouilh, Miller, et al. Even the sense of "serious" is not exactly the same: is the seriousness of Hedda Gabler's or Willie Loman's fate at all comparable to the fates of [End Page 70] Medea or Oedipus? The former cases surely seem serious in some domestic sense, whereas the latter clearly are intended to imply seriousness on a much grander and perhaps cosmic scale.The reason I mention all this is that "tragedy," both in what I call the strict and nuclear ancient Greek sense of the term (which does not imply that tragedy is clearly and distinctly defined, even in ancient Greece) and in the looser, derived sense of the word, has a long and compelling history. Tragedy is a form of drama to which we continually return. It is a genre that seems intrinsic not only to our very idea of theater but also to the very nature of art itself. Although one may debate the plausibility of writing tragedies in a disillusioned and nonheroic age, nevertheless one can hardly imagine the theater existing without tragedy. One way or another, it seems tragedies, whether in the strict or loose sense, will always be performed, and not merely out of nostalgia. Indeed, given the compelling nature of tragedy, it seems no accident that among the giants of literature, the tragedians are significantly represented. The compelling nature of tragedy is nicely expressed by the literary critic F. L. Lucas, and his statements should be considered a complement to Aristotle:Tragedy, then, is a representation of human unhappiness, which pleases us notwithstanding, by the truth with which it is seen and the fineness with which it is communicated—"l'amertume poignante et fortifiante de tout ce qui est vrai." ["The invigorating and poignant bitterness of whatever is true"; my translation.] The world of everyday seems often a purposeless chaos, a mangy tiger without even the fearful symmetry of Blake's vision; but the world of tragedy we can face, for we feel mind behind it and the symmetry is there. Tragedy, in fine, is man's answer to this universe that crushes him so pitilessly. Destiny scowls upon him; his answer is to sit down and paint her where she stands.2It is not only true that tragedy as practice and performance has a long and rich history; the study of tragedy has an equally long and rich history. The idea of tragedy has attracted, tantalized, frustrated, and exercised... (shrink)

Recent criticism has already shown that the notoriously unanswered plot questions of The Big Sleep elicit serious philosophical issues, including skepticism about the validity of interpretation itself. The film allegorizes the reason for this questioning in what Derrida calls the "blackmail" of photography--its coercive claim to represent objective truth. Blackmail arising from photography is the main plot premise of The Big Sleep, but it serves as a figure for the "postal" world of signs divorced from referents, finally epitomized in thel (...) groundlessness of Marlowe's logic and final conclusions. Parallels are drawn between this Derridean world and Adorno's writings, in the light of Derrida's acknowledgement of their affinity. The phrase "big sleep" is gangster-slang for death, but this essay argues that it also refers to life, understood in the Buddhist sense of the human illusion of a waking or enlightened life. (shrink)

A contemporary of William Shakespeare and Ben Jonson, Christopher Marlowe was one of the most influential early modern dramatists, whose life and mysterious death have long been the subject of critical and popular speculation. This collection sets Marlowe's plays and poems in their historical context, exploring his world and his wider cultural influence. Chapters by leading international scholars discuss both his major and lesser-known works. Divided into three sections, 'Marlowe's works', 'Marlowe's world', and 'Marlowe's reception', the book ranges from (...) Marlowe's relationship with his own audience through to adaptations of his plays for modern cinema. Other contexts for Marlowe include history and politics, religion and science. Discussions of Marlowe's critics and Marlowe's appeal today, in performance, literature and biography, show how and why his works continue to resonate; and a comprehensive further reading list provides helpful suggestions for those who want to find out more. (shrink)

"ON DEMAND OF A PUBLISHING HOUSE IN GERMANY, I WAS ASKED TO WRITE ON SCIENTIFIC METHODS THAT I HAD imbibed ON WRITING THE DOCUMENT" [Thanks to accept my work Christopher Marlowe's Edward The Second from Presidency College,Kolkata of interest to international audience] .

Philosophers and cognitive scientists address the relationships among the senses and the connections between conscious experiences that form unified wholes. In this volume, cognitive scientists and philosophers examine two closely related aspects of mind and mental functioning: the relationships among the various senses and the links that connect different conscious experiences to form unified wholes. The contributors address a range of questions concerning how information from one sense influences the processing of information from the other senses and how unified states (...) of consciousness emerge from the bonds that tie conscious experiences together. Sensory Integration and the Unity of Consciousness is the first book to address both of these topics, integrating scientific and philosophical concerns. A flood of recent work in both philosophy and perception science has challenged traditional conceptions of the sensory systems as operating in isolation. Contributors to the volume consider the ways in which perceptual contact with the world is or may be “multisensory,” discussing such subjects as the modeling of multisensory integration and philosophical aspects of sensory modalities. Recent years have seen a similar surge of interest in unity of consciousness. Contributors explore a range of questions on this topic, including the nature of that unity, the degree to which conscious experiences are unified, and the relationship between unified consciousness and the self. Contributors Tim Bayne, David J. Bennett, Berit Brogaard, Barry Dainton, Ophelia Deroy, Frederique de Vignemont, Marc Ernst, Richard Held, Christopher S. Hill, Geoffrey Lee, Kristan Marlow, Farid Masrour, Jennifer Matey, Casey O'Callaghan, Cesare V. Parise, Kevin Rice, Elizabeth Schechter, Pawan Sinha, Julia Trommershaeuser, Loes C. J. van Dam, Jonathan Vogel, James Van Cleve, Robert Van Gulick, Jonas Wulff. (shrink)

This research explores the character’s decline in Christopher Marlowe’s play Doctor Faustus. It tells the story of an intellect entitled Dr. Faustus who, after becoming dissatisfied with every piece of the experience he has accumulated, goes to see the devils to satisfy his ambition of becoming a supreme being. Evaluating the reasons behind his demise is the focus of this research. This research is qualitative in nature. The Baum proposal for this type of study serves as the foundation for (...) the investigation’s methodology used in this analysis. The fall from grace concept is based on Sinclair’s argument that a specific individual or system’s collapse or catastrophe occurs after they have recently achieved happiness or influence. The conclusion reveals that Faustus’s failure to discriminate between the real world and his fantasies, uncontrolled necromantic action, and overwhelming yearning is what ultimately lead to his disaster and condemnation. In the end, it is revealed that while Faustus initially appears to be the unfortunate protagonist of the narrative, he encounters the death he deserves. (shrink)

These two volumes are the first extensive study of the influence of Marsilio Ficino on major English poets. Ficino lived in Florence, Italy from 1433 to 1499. He introduced Plato to the Renaissance by his translations of the philosopher's complete works with detailed commentary. He wrote important works on astrology, a multi-volume work on Platonic Theology, and hundreds of brilliant public letters on a variety of subjects.

Christopher Marlowe’s Doctor Faustus, like Goethe’s Faust, begins in Faustus’ study. Faustus, renowned for his learning, is reading, going through the entire range of medieval disciplines — Aristotelian logic, Galenic medicine, Justinian law, Jerome’s Vulgate. His rapid deductions, after quoting to himself snatches from the concerned texts, read like a pastiche of the vanity of all human knowledge one encounters in De vanitate scientiarum by Cornelius Agrippa, a rumored alchemist and master of the occult.1 Faustus rejects logic as sterile, (...) and medicine and law as “mercenary,” unfit for the gentleman-scholar, who, according to the contemporary code,2 did not study or work for gain — these are.. (shrink)

Now that the collective death of mankind has become a possibility, no other thought can remain unimpaired. Harry Redner traces historically the onset of this acute state of Nihilism from what might be called the Faustian revolution, symbolized by Faust's pronouncement “In the beginning was the Deed.” Redner reflects on the passage of the three main Fausts, from Marlowe’s to Goethe’s to Thomas Mann’s, and this reflection serves as the dramatic metaphor for a review of the relationship of Progress to (...) Nihilism in modern civilization. Starting with an exposition of the key Faustian thinkers—Marx, Nietzsche, Wittgenstein, and Heidegger—the book proceeds by examining the dominant modern ideas on Man, Time, and Nihilism with reference to Foucault, Derrida, and Althusser. It focuses on Language, which is a key preoccupation of all these thinkers but has not yet been taken far enough to afford a basis for the explanation of fundamental changes in civilization. Language in its creative and destructive functions, as constituting both the conscious and unconscious of a culture, is reconceived so as to account for the hidden link between Progress and Nihilism. The author then explores sociologically the dominant aspects of Progress in terms of the ideas of Weber, Adorno, and Marcuse on Technology, Subjectivity, and Activism. Finally, an extensive literary study of the three main Fausts concludes with a coda on the future of music. In the Beginning Was the Deed is lucid and direct, tinged with wry humor. Redner represent Man in the nuclear age and reflects on that representation, seeking to comprehend our era, draw ethical and political conclusions, and explore action as a response to the threat of annihilation. (shrink)

In response to Frontiers’ 2020 Call for Papers on “Stereotypes and Intercultural Relations: Interdisciplinary Integration, New Approaches, and New Contexts,” my paper integrates the scientific study of stereotypes with a literary-theatrical exploration of stereotyping. The focus is on Tibor Egervari’s post-Auschwitz adaptation of Shakespeare’s anti-Semitic comedy The Merchant of Venice, with a very brief look at his related work on Christopher Marlowe’s The Jew of Malta and his 1998 collaboration with conductor Georg Tintner on a touring production of composer (...) Viktor Ullmann’s and librettist Peter Kien’s one-act opera, The Emperor of Atlantis, or Death’s Refusal, composed in the “model” concentration camp Terezín, in 1943–1944. Egervari’s theater art critically deconstructs what he calls “the Old Jew” stereotype in specific ways highly readable using the Stereotype Content Model and Behavior from Intergroup Affect and Stereotypes map. Theater performance can sometimes embody the forceful dynamic traced by the BIAS map, from cognition to affect to behavior. Egervari’s original adapation, which sets The Merchant of Venice in Auschwitz, reveals this dynamic clearly. My interdisciplinary study of Egervari’s theatrical-cultural work validates the SCM and BIAS map for literary studies and interprets the Shylock stereotype in the terms of those models and through the lens of Egervari’s anti-Nazi adaptation of Shakespeare’s Merchant. (shrink)

Sweet Analytics, ‘tis thou hast ravish'd me,Bene disserere est finis logices.Is to dispute well logic's chiefest end?Affords this art no greater miracle?(Christopher Marlow, Doctor Faustus, Act 1,...

Successfully creating polarizing narratives, several populist leaders have come to dominate the global political sphere in recent times. However, the coronavirus pandemic has raised serious questions over their ability to respond to its challenges effectively. Whether they will remain in power after the pandemic is an intriguing question. The key to understanding the dynamics of power among populist leaders lies in analyzing the tactics they employ for the appropriation of political power. In this context, reading Christopher Marlowe’s Tamburlaine the (...) Great (1587) can play an important role. This essay, therefore, argues that through a unique characterization of Tamburlaine the Great, Marlowe critiques Queen Elizabeth’s aggressive political maneuvers of improvisation, which enabled her to reinforce her divine claim over the throne of England. Yet striking historical and literary references suggest that Queen Elizabeth and Marlowe’s Tamburlaine attempted to achieve improvisation through similar means but in the end encountered the transience and limits of their temporal powers, while facing the biological realities of barrenness and heredity – a fact that should serve as a warning to the current populist leaders across the world. (shrink)

Giordano Bruno’s visit to Elizabethan England in the 1580s left its imprint on many fields of contemporary culture, ranging from the newly-developing science, the philosophy of knowledge and language, to the extraordinary flowering of Elizabethan poetry and drama. This book explores Bruno's influence on English figures as different as the ninth Earl of Northumberland, Thomas Harriot, Christopher Marlowe and William Shakespeare. Originally published in 1989, it is of interest to students and teachers of history of ideas, cultural history, European (...) drama and renaissance England. Bruno's work had particular power and emphasis in the modern world due to his response to the cultural crisis which had developed - his impulse towards a new ‘faculty of knowing’ had a disruptive effect on existing orthodoxies – religious, scientific, philosophical, and political. (shrink)

'Live and die in Aristotle’s works.' - Christopher Marlowe, _Faustus_ Aristotle is without doubt one of the most influential people in history. His belief that philosophy should be grounded in observation laid the foundation for the scientific method. His moral philosophy exerted a profound influence on religious thinking and has recently returned to prominence with the resurgence of virtue ethics. His works are so thorough and wide-ranging as to constitute a quasi encyclopaedia of Greek knowledge. Amongst the most important (...) are Physics, Metaphysics, Nicomachean Ethics, Politics, On the Soul, Poetics, and the Organon, with which he created the field of logic and dominated it so thoroughly and for so long that even Kant thought that he had said the last word upon it. This book aims to provide the student and general reader with a comprehensive overview of Aristotle’s thought. It includes an introduction to the life of Aristotle, and – for the first time – a précis of each of his works, including the Organon, Physics, Metaphysics, Nicomachean Ethics, Politics, On the Soul, Poetics, and several others. _Author description:_ Dr Neel Burton is a philosopher and psychiatrist and prize-winning author who lives and teaches in Oxford, England. His other books include Plato’s Shadow, The Art of Failure, and The Meaning of Madness, all also with Acheron Press. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The War with God: Theomachy in Roman Imperial Poetry by Pramit ChaudhuriMartin T. DinterPramit Chaudhuri. The War with God: Theomachy in Roman Imperial Poetry. Oxford: Oxford University Press, 2014. xvi + 386 pp. Cloth, $74.We are all fighting our own demons, but some of us—so Chaudhuri tells us—are even fighting our own gods. Accordingly, a wide range of theomachs and their representation in classical literature fills the ranks (...) of this excellent book that will certainly elbow its way onto Mt. Olympus to sit comfortably next to divine Feeney (1991 and 1998) and sublime Hardie (1986 and 1993). Indeed, Chaudhuri transcends the scope of Feeney (1991) by including not only Senecan (and Attic) tragedy but also texts and contexts ranging from panegyric to philosophy and from lyric to historiography.Chaudhuri’s book falls into three parts. Its first three chapters cover theomachy in Greek poetry (Homer and Attic tragedy), as well as the development of theomachy in Augustan epic, with chapters on Lucretius and Vergil and Ovid. Here, Chaudhuri introduces some of the main patterns and contexts that will be developed in later imperial poetry. Chaudhuri also states clearly what will not be covered here at length: the voyage myths of the Odyssey and the Argonauts, Aristophanes’ Birds, and the (pseudo-) Aeschylean Prometheus Bound. Part 2 covers Neronian literature with Seneca’s Hercules Furens and Lucan, while Part 3 focuses on the Flavian era, with Silius and Statius. Statius’ Capaneus forms a highpoint amongst the theomachs and thus deservedly receives extra attention. Chaudhuri rounds off the Flavian section with a chapter on the politics [End Page 177] of theomachy, in which he samples theomachy as a trope for the confrontation between subject and ruler, ruler and god, rival emperors and the confrontation of dynasties. After all, the Flavian poets had witnessed the principate develop over time, the struggles for the throne, and the rise and fall of dynasties. This is followed by a titillating epilogue showcasing how the themes developed in the previous chapters that breach the divide between mortal and immortal (such as fame, equanimity, skepticism, and poetic and imperial apotheosis) echo through the centuries. Rarely, however, do we find simple didactic moralism. Instead, “the theomach is instrumental in generating a dialogue on the broader symbolism of fighting the gods, its stakes and implications” (323). Chaudhuri can but hint at the rich afterlife of the theomach across Europe from the fifteenth to the seventeenth centuries, a subject that would fill a second volume. He nevertheless whets the reader’s appetite by pointing to Milton’s Paradise Lost and Samson Agonistes, Ariosto’s Orlando Furioso, Christopher Marlowe’s Tamburlaine, Dante’s Inferno, and Tasso’s Gerusalemme Liberata, as well as a host of epigraphs to each chapter, and concludes with a glance at the twentieth and twenty-first centuries with Philip Pullman’s His Dark Materials, Richard Dawkins versus God, and modern physicists’ search for a God particle.Chaudhuri sets the volume off by contrasting theomachy with gigantomachy. While the feats of the Giants “remain far distant in time from the activities of humankind … the theomach speaks the language of humanity … offering a richer context for his radical aspirations and … inviting the audience to adopt an alternative view on the theological status quo” (5). He also places theomachy in its cultural context when he follows Momigliano’s (1984) suggestion that under Augustus poetry replaced antiquarianism and philosophy as the primary genre in which to think about the gods. The figure of the contemptor divum (despiser of the gods) thus comes to embody the contrast between piety and impiety which itself is grounded in the empirical basis of Roman religion. But rather than testing methods of communication with the divine, as the Romans so often did with divinatory practices and ritual protocols, the contemptor divum tackles the question of whether it is possible to know the divine at all and whether the gods even exist. “By placing these conflicts at the heart of their works, the epic poets expanded the cultural conversation to include the testing of the divine in the Romans’ attempts to make sense of the epistemological, theological, and political concerns pertaining... (shrink)

Largely by the use of allegory, Ayn Rand's novel The Fountainhead repurposes and reinterprets the religious morality of Christopher Marlowe's Doctor Faustus to espouse an Objectivist, rather than theist, view of salvation and damnation. The Faustian narrative no longer belongs to Faustus alone, but is read against itself in order to theorize that giving up one's ego and independence, rather than giving up one's membership to the societal collective, is the straightest road to perdition.

Strong reciprocity is an effective way to promote cooperation. This is especially true when one not only cooperates with cooperators and defects on defectors (second-party punishment) but even punishes those who defect on others (third-party, “altruistic” punishment). Some suggest we humans have a taste for such altruistic punishment and that this was important in the evolution of human cooperation. To assess this we need to look across a wide range of cultures. As part of a cross-cultural project, I played three (...) experimental economics games with the Hadza, who are hunter-gatherers in Tanzania. The Hadza frequently engaged in second-party punishment but they rarely engaged in third-party punishment. Other small-scale societies engaged in less third-party punishment as well. I suggest third-party punishment only became more important in large, complex societies to solve more pressing collective-action problems. (shrink)

Researchers from across the social sciences have found consistent deviations from the predictions of the canonical model of self-interest in hundreds of experiments from around the world. This research, however, cannot determine whether the uniformity results from universal patterns of human behavior or from the limited cultural variation available among the university students used in virtually all prior experimental work. To address this, we undertook a cross-cultural study of behavior in ultimatum, public goods, and dictator games in a range of (...) small-scale societies exhibiting a wide variety of economic and cultural conditions. We found, first, that the canonical model – based on self-interest – fails in all of the societies studied. Second, our data reveal substantially more behavioral variability across social groups than has been found in previous research. Third, group-level differences in economic organization and the structure of social interactions explain a substantial portion of the behavioral variation across societies: the higher the degree of market integration and the higher the payoffs to cooperation in everyday life, the greater the level of prosociality expressed in experimental games. Fourth, the available individual-level economic and demographic variables do not consistently explain game behavior, either within or across groups. Fifth, in many cases experimental play appears to reflect the common interactional patterns of everyday life. Key Words: altruism; cooperation; cross-cultural research; experimental economics; game theory; ultimatum game; public goods game; self-interest. (shrink)

Mathematical Foundations of Quantum Theory is a collection of papers presented at the 1977 conference on the Mathematical Foundations of Quantum Theory, held in New Orleans. The contributors present their topics from a wide variety of backgrounds and specialization, but all shared a common interest in answering quantum issues. Organized into 20 chapters, this book's opening chapters establish a sound mathematical basis for quantum theory and a mode of observation in the double slit experiment. This book then describes the Lorentz (...) particle system and other mathematical structures with which fun ... (shrink)

This study examined the efficacy of corrected feedback for improving consent recall throughout the course of an ongoing longitudinal study. Participants were randomly assigned to either a corrected feedback or a no-feedback control condition. Participants completed a consent quiz 2 weeks after consenting to the host study and at months 1, 2, and 3. The corrected feedback group received corrections to erroneous responses and the no-feedback control group did not. The feedback group displayed significantly greater recall overall and in specific (...) content areas. Results support the use of corrected feedback for improving consent recall. (shrink)

Recent studies of the evolution of religion have revealed the cognitive underpinnings of belief in supernatural agents, the role of ritual in promoting cooperation, and the contribution of morally punishing high gods to the growth and stabilization of human society. The universality of religion across human society points to a deep evolutionary past. However, specific traits of nascent religiosity, and the sequence in which they emerged, have remained unknown. Here we reconstruct the evolution of religious beliefs and behaviors in early (...) modern humans using a global sample of hunter-gatherers and seven traits describing hunter-gatherer religiosity: animism, belief in an afterlife, shamanism, ancestor worship, high gods, and worship of ancestors or high gods who are active in human affairs. We reconstruct ancestral character states using a time-calibrated supertree based on published phylogenetic trees and linguistic classification and then test for correlated evolution between the characters and for the direction of cultural change. Results indicate that the oldest trait of religion, present in the most recent common ancestor of present-day hunter-gatherers, was animism, in agreement with long-standing beliefs about the fundamental role of this trait. Belief in an afterlife emerged, followed by shamanism and ancestor worship. Ancestor spirits or high gods who are active in human affairs were absent in early humans, suggesting a deep history for the egalitarian nature of hunter-gatherer societies. There is a significant positive relationship between most characters investigated, but the trait “high gods” stands apart, suggesting that belief in a single creator deity can emerge in a society regardless of other aspects of its religion. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 93 Heft: 1 Seiten: 35-64.

The Medieval Reception of the Shāhnāma as a Mirror for Princes. By Nasrin Askari. Studies in Persian Cultural History, vol. 9. Leiden: Brill, 2016. Pp. xi + 398. $189, €136.

This paper presents a new analysis of the concept of non-instrumental need, and, using it, demonstrates how a need-satisfaction theory of well-being is much more plausible than might otherwise be supposed. Its thesis is that in at least some contexts of evaluation a central part of some persons’ well-being consists in their satisfying certain “personal needs”. Unlike common conceptions of other non-instrumental needs, which make those out to be moralised, universal, and minimal, personal needs are expansive and particular to particular (...) persons, generated rather by persons’ non-moral personal commitments. Against objections to the contrary, I show how these are genuine necessities, since unlike mere desires and freely escapable aims, personal needs constitute objective, inescapable, and non-compensable practical requirements. The personal-need-satisfaction theory of well-being combines objectivity with subject-dependence in novel ways, and motivates well-being pluralism at the level of individual agency. Implicating necessity as it does in the structure of individual well-being, this account presents a robust challenge to ethical and political theories that rely on the intrapersonal aggregation of well-being to be unproblematic. (shrink)

Many “pro-life” or anti-abortion advocates are Christians who believe that (1) there exists an all-powerful, all-knowing, and morally perfect god who created our universe; (2) restricting abortion ought to be a top social and political priority; and (3) embryos and fetuses that die all go to hell or they all go to heaven. This paper seeks to establish that Christian pro-life advocates with these beliefs face the Afterlife Dilemma. On the one hand, if all embryos and fetuses that die go (...) to hell, they need to abandon their belief in the morally perfect god of traditional Christianity. On the other hand, if all embryos and fetuses that die go to heaven, a plausible triage principle suggests that they must abandon their view that restricting abortions ought to be a top priority. Either way, this popular Christian pro-life view is untenable. The Afterlife Dilemma implies that many pro-life Christians must abandon some aspect of their current beliefs about God, the afterlife, or the comparative moral importance of abortion. (shrink)

The literature on human mate preferences is vast but most data come from studies on college students in complex societies, who represent a thin slice of cultural variation in an evolutionarily novel environment. Here, I present data on the mate preferences of men and women in a society of hunter-gatherers, the Hadza of Tanzania. Hadza men value fertility in a mate more than women do, and women value intelligence more than men do. Women place great importance on men’s foraging, and (...) both sexes rate character as important. Unlike college students, Hadza men place considerable importance on women being hard-working, and Hadza women cite looks about as often as men do. (shrink)

We would like to thank the commentators for their generous comments, valuable insights and helpful suggestions. We begin this response by discussing the selfishness axiom and the importance of the preferences, beliefs, and constraints framework as a way of modeling some of the proximate influences on human behavior. Next, we broaden the discussion to ultimate-level (that is evolutionary) explanations, where we review and clarify gene-culture coevolutionary theory, and then tackle the possibility that evolutionary approaches that exclude culture might be sufficient (...) to explain the data. Finally, we consider various methodological and epistemological concerns expressed by our commentators. (shrink)

This paper describes the first phase of an ongoing education and research project guided by three main intentions: (1) to create opportunities for phronesis in the classroom; (2) to develop new understandings about phronesis as it relates to nursing care generally and to caring for specific groups, like formerly incarcerated adults; and (3) to provide an opportunity for formerly incarcerated adults and graduate nursing students to participate in a dialectical conversation about ethical knowing. Gadamer's writings on practical philosophy, phronesis, and (...) the Socratic dialectic provide the philosophical foundation and framework for the project. The first phase in the project was a 4‐h class within a graduate‐level health promotion course during which 30 nursing students and three formerly incarcerated panelists engaged in a dialectic conversation about what it means to care for formerly incarcerated adults in a meaningful way. After the class, two focus groups were conducted, one with the students and one with the formerly incarcerated panelists. Findings articulated participants' prejudices and assumptions prior to the class, expanded sense of phronesis, and ability to consider nursing practice within a larger ethical framework. Panelists and students left the class with a deeper understanding of one another and expressed an openness towards continued dialectic conversations together. Use of the Socratic dialectic within nursing curricula reflects a current and critical trend in nursing education to bring non‐epistemologic forms of knowledge into the classroom. (shrink)

This study applied discourse analysis to over 1500 publicly posted comments following the multilingual Coca-Cola ‘It’s Beautiful’ commercial which aired on 2 February 2014 across the United States. Discursive analysis found that immigrant groups were discussed by about one-third of respondents in predominantly negative ways. People employed categorization, comparison, consensus, generalizations, metaphors, rhetorical questions, and directive speech acts to discuss the commercial and immigration, more generally. The frequent presence of such negative responses to the commercial suggests that anti-immigrant sentiments continue (...) and possibly are intensifying among segments of the population in the United States. The Model of Normalized Hate Speech is presented here, in order to promote future inquiry and understanding in this area. (shrink)

Truth, Christopher Norris reminds us, is very much out of fashion at the moment whether at the hands of politicians, media pundits, or purveyors of postmodern wisdom in cultural and literary studies. Across a range of disciplines the idea has taken hold that truth-talk is either redundant or the product of epistemic might. Questions of truth and falsehood are always internal to some specific language-game; history is just another kind of fiction; philosophy is only a kind of writing; law (...) is a wholly rhetorical practice. In _Reclaiming Truth_, Norris critiques these fashionable trends of thought and mounts a specific challenge to cultural relativist doctrines in epistemology, philosophy of science, ethics, and political theory. Norris presents his case in a series of closely argued chapters that take issue with the relativist position. He attempts to rehabilitate the value of truth in philosophy of science by restoring a lost distinction between concept and metaphor and argues that theoretical discourse, so far from being an inconsequential activity, has very real consequences, particularly in ethics and politics. This debate has become skewed, he suggests, through the widespread and typically postmodern idea that truth-claims must always go along with a presumptive or authoritarian bid to silence opposing views. On the contrary, there is nothing as dogmatic—or as silencing—as a relativism that acknowledges no shared truth conditions for valid or responsible discourse. Norris also offers a timely reassessment of several thinkers—Althusser and Derrida among them—whose reception history has been distorted by the vagaries of short-term intellectual fashion. _Reclaiming Truth _will be welcomed by readers concerned with the uses and abuses of theory at a time when such questions are in urgent need of sustained and serious debate. (shrink)

With the goal of better understanding how science, religion, and poetic art came together in the work of Christopher Southgate, the authors first explore his spiritual poetry. They come away with a better understanding of the author’s commitment to a broad naturalism that contributes, along with his own faith experience, to his prose works in the emerging field of ecotheology. The authors conclude that Southgate’s work is part of the worldwide emergence of a theological rationale that supports environmentalism, the (...) protection of species, and the conservation of biodiversity. The authors find Southgate’s poetry warm, appealing, accessible, and re-readable to good effect, but with a thread of danger and warning throughout. Both features are quite appropriate for the environmental movement in the twenty-first century. (shrink)