In lieu of an abstract, here is a brief excerpt of the content:The Denial of PeterRené Girard, Mimetic Desire, and ConversionWilliam E. Cain (bio)Man is the creature who does not know what to desire, and he turns to others in order to make up his mind. We desire what others desire because we imitate their desires.—René GirardI believe in commitment … We must be committed to one position and follow it through.—René GirardIn many books and essays throughout his long (...) career, the literary critic and cultural theorist René Girard presented, developed, and extended provocative ideas about, and insights into, mimetic desire. Our desires are not our own, Girard emphasizes; they do not come from within. We form our desires on the desires that we perceive in others; they are our models; we imitate them. Always, we seek to be aligned with the words and deeds of an envied model or, more generally, with those of a dominant group or crowd. [End Page 101]As Girard defines it, desire is extremely potent and controlling. We cannot resist its force, and all too often it propels individuals and societies into rivalry, hatred, and violence. There are descriptions of this formidable power in Sophocles, Shakespeare, and other great writers of the Western tradition, as Girard has demonstrated. But, even more, Girard maintains that we witness the operation, that is, the revelation, of mimetic desire—its origins, its consequences—in the Hebrew Bible and the New Testament.The temptation and sin of Adam and Eve, the story of Joseph and his brothers, the judgment of Solomon, the story of Job, the crucifixion of Jesus—these are some of Girard's recurring examples. However, the Biblical episode that may have mattered the most to him, one that he invoked repeatedly, is the Denial of St. Peter.The details of this story differ somewhat from one gospel to the next—Girard prefers the version of it in the gospel of Mark—but the core of it is this: At the Last Supper, Jesus predicted that Peter would deny him three times; Peter swore that he would not, but when the time of testing came, he did. When others confronted him, the fearful Peter, desiring to belong, desperate to be safely within the group, denied that he knew who Jesus was: "I do not know the man you speak of" (Mark 14:71).1Girard's explications of the Denial bring into focus his theory of mimetic desire. His reiterated point about St. Peter is really a point about us—that we are the same as this disciple: We would have betrayed Jesus too. In New Testament studies, some have claimed that "the story about Peter is simply a concretizing of the general denial of all the disciples."2 In our own times of test and trial, we have acted and will act as Peter did.Consider Girard's treatment of the Denial in Le Sacrifice (2003; English trans. 2011).3 The mob that calls for Jesus's death, Girard explains, "is constituted and nourished by swallowing up everything that passes within its reach. It is the black hole of violent mimeticism; where mimeticism is most dense, the mob emerges."4"The major example," he continues, "is that of Peter's denial":Peter cannot help but imitate their hostility. If we psychologize this denial, if we attribute it to the suggestible temperament of the apostle, we seek to prove (unconsciously) that in Peter's place, we would not have denied Jesus. It should be recalled that before his denial Peter, too, vows never to deny Jesus. He is too preoccupied with the opinion others have of him not to blindly adopt the politically correct attitude of the milieu at the center of which he has the misfortune of finding himself.5 [End Page 102] Click for larger view View full resolutionFigure 1."All the actors and witnesses of the crucifixion," Girard concludes, "are already hostile to Jesus or they become so, for mimeticism spares no one."6We cannot resist the influence of the mob: Inevitably we succumb to it. No more than Peter would we have remained steadfast. There is nothing inherent in Peter as an individual that explains why he... (shrink)

I am not certain that I know what I am trying to describe or how to identify it. It is something that happens or perhaps does not happen in Shakespeare's characters, something about how they think, in particular how they think or do not think at a critical moment of decision or change. I am referring to Shakespeare's policy and practice of conspicuous omission, calculated evasion, silent avoidance—to something that Shakespeare does not give us, a reticence or restraint about the (...) thinking of a character that we might have expected to see revealed. Sometimes I am inclined to say that what I am describing is inadvertent, inevitable. But then I am led back to concluding that what is there is there because Shakespeare... (shrink)

Barbara Caine's fascinating analysis of feminism in England examines the relationship between feminist thought and actions, and wider social and cultural change over tow centuries. Professor Caine investigates the complex question surrounding the concept of a feminist 'tradition', and showshow much the feminism of any particular period related to the years preceding or following it. Though feminism may have lacked the kind of legitimating tradition evident in other forms of political thought, the ghost of Mary Wollstonecraft was something (...) which all nineteenth- and twentieth-centuryfeminists had to come to terms with. Her story was a constant reminder of the connection between the demand for political and legal rights, and its conflation with the issues of personal and sexual rebellion. Like Wollstonecraft, every woman pioneer into the public arena faced assaults on her honouras well as on her intellectual position. The author also addresses the language of feminism: the introduction and changing meanings of the term 'feminist';the importance of literary representations of women; and the question of how one defines feminism, and establishes boundaries between feminismand the 'woman question'. She ends with a discussion of the new emphasis, post-1980s, on the need to think about 'feminisms' in the plural, rather than any single kind of feminism. analysis of feminist organizations, debates, and campaigns shows a keen sense of the relationship between feministthought and actions, and wider social and cultural change. The result is a fascinating study with a new perspective on feminists and feminist traditions, which can be used both as an introductory text and as an interpretative work. Professor Caine examines the complex questions surrounding theconcept of a feminist 'tradition', and shows how much the feminism of any particular period related to the years preceding or following it. Though feminism may have lacked the kind of legitimating tradition evident in other forms of political thought, the ghost of Mary Wollstonecraft is seen here assomething which all nineteenth- and twentieth-century feminists had to come to terms with. Her story was a constant reminder of the connection between the demand for political and legal rights, and its conflation with the issues of personal and sexual rebellion. Like Mary Wollstonecraft, every womanpioneer into the public arena was faced with assaults on her honour as well as on her intellectual position. Professor Caine also addresses the language of feminism: the introduction and changing meanings of the term `feminist'; the importance of literary representations of women; and the questionof how one defines feminism, and establishes boundaries between feminism and the `woman question'. She ends with a discussion of the new emphasis, post-1980s, on the need to think about `feminisms' in the plural, rather than any single kind of feminism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Critical Essays on Samuel Taylor ColeridgeWilliam E. CainCritical Essays on Samuel Taylor Coleridge, edited by Leonard Orr; vi & 194 pp. New York: Twayne, 1994, $42.00.“Coleridge, as you doubtless hear, is gone,” wrote Thomas Carlyle, August 12, 1834, to Ralph Waldo Emerson: “How great a Possibility, how small a realized Result.” There is now a huge Coleridge industry in the academy, engaged in producing editions of his writings (...) and examinations of his literary career. Yet Carlyle’s judgment continues to carry weight with many nonspecialist readers, who know Coleridge only as Wordsworth’s estimable friend and as the author of a handful of superb lyrics and radiant critical speculations in the Biographia Literaria (1817). These texts are indeed rich and suggestive: readers wish that there were more like them and that Coleridge’s achievement had somehow been greater, more monumental, like Wordsworth’s. Coleridge’s “misfortune,” concluded Carlyle’s friend, John Sterling, in January 1842, “was to appear at a time when there was a man’s work to do—and he did it not.”But the wish that Coleridge had been more than he was is misplaced, in large measure for the reason that it neglects the vast amount of significant work that he did accomplish—not only in poetry and criticism, but in philosophy, political journalism, social theory, and other disciplines and areas of thought. Experts in Romanticism know this work (or, at least, know of it), yet it has not [End Page 151] been excerpted in anthologies, contextualized and explained for students, or brought forward for analysis, beyond the circle of avid Coleridgeans, to extend and complicate the commonplaces about this writer that still enjoy wide circulation.In this respect, Leonard Orr, editor of Critical Essays on Samuel Taylor Coleridge, perhaps has missed an opportunity. His collection is valuable as far as it goes; it reprints eight excellent essays along with two new ones, and Orr’s own concise, informed Introduction, with footnotes packed with bibliography, provides a lucid overview of Coleridge studies. But the focus is strangely limited, the conception of the writer’s career is dated and conventional, and the selection of essays is too restricted.One is grateful for this collection’s strengths even as one regrets its gaps and omissions. John Beer gives a good account of the Coleridge/Wordsworth relationship; Stuart Peterfreund nicely shows how “Coleridge’s failed political vision of European history” is redeemed “as part of his critical vision of the imagination”; James C. McKusick, Paul Magnuson, Andrew M. Cooper, James Engell, and Anne K. Mellor explore Coleridge’s poetry—though oddly there is no essay devoted primarily to “The Rime of the Ancient Mariner”; and Kathleen M. Wheeler, Lawrence Buell, and Jerome Christensen form a helpful unit of pieces on the Biographia Literaria. But readers will not find here anything more than brief mentions of, for example, Coleridge’s writings for The Watchman and The Friend, his striking interpretations of Shakespeare, Aids to Reflection, letters, notebooks, two Lay Sermons, and On the Constitution of the Church and State.This failure to supply broader, more innovative coverage is puzzling, given that the general aim of the series in which Orr’s book appears (Critical Essays on British Literature, gen. ed. Zack Bowen) is “to develop a new overall perspective on its particular subject.” Even more, Orr himself says in his Introduction that scholarship of the past two decades has prompted us to be “less likely to ignore the prose works beyond the Biographia” and has drawn attention to Coleridge’s marginalia and notebooks. Orr displays a sharp sense of the new Coleridge, yet has designed his book in a way that reflects the old one and that will tend for many readers simply to reinforce Carlyle’s adverse judgment.William E. CainWellesley CollegeCopyright © 1995 The Johns Hopkins University Press... (shrink)

On 18–19 May 2018, a symposium was held in the Research Institute of Irish and Scottish Studies at the University of Aberdeen to commemorate the tenth anniversary of the death of Ronald W. Hepburn (1927–2008). The speakers at this event discussed Hepburn’s oeuvre from several perspectives. For this book, the collection of the revised versions of their talks has been supplemented by the papers of other scholars who were unable to attend the symposium itself. Thus this volume contains contributions from (...) eighteen notable scholars of different disciplines, ranging from contemporary aesthetics and art theory through to philosophical approaches to religion, education and social anthropology. It also includes a bibliography of Hepburn’s writings. The essays were first published in two special issues of the Journal of Scottish Thought, vols. 10–11 (2018–2019). -/- Ronald William Hepburn was born in Aberdeen on 16 March 1927. He went to Aberdeen Grammar School, then he graduated with an M.A. in Philosophy (1951) and obtained his doctorate from the University of Aberdeen (1955). His tutor at Aberdeen was Donald MacKinnon (1913– 1994), a Scottish philosopher and theologian, the author of A Study in Ethical Theory (1957) and The Problem of Metaphysics (1974). Hepburn taught as Lecturer at the Department of Moral Philosophy at Aberdeen (1956–60), and he was also Visiting Associate Professor of Philosophy at New York University (1959–60). He returned from the United States as Professor of Philosophy at Nottingham University. In 1964, he was appointed as a Chair in Philosophy at the University of Edinburgh and between 1965 and 1968 he was also Stanton Lecturer in the Philosophy of Religion at the University of Cambridge. From 1975 until his retirement in 1996, he held the Professorship of Moral Philosophy at Edinburgh. He died in Edinburgh on 23 December 2008. His philosophical interests ranged from theology and the philosophy of religion through moral philosophy and the philosophy of education to art theory and aesthetics. Notably, Hepburn is widely regarded as the founder of modern environmental and everyday aesthetics as a result of the influence of papers in the 1960s which pioneered a new approach to the aesthetics of the natural world. (shrink)

Just Ecological Integrity presents a collection of revised and expanded essays originating from the international conference "Connecting Environmental Ethics, Ecological Integrity, and Health in the New Millennium" held in San Jose, Costa Rica in June 2000. It is a cooperative venture of the Global Ecological Integrity Project and the Earth Charter Initiative.

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.1 (2005) 127-133 [Access article in PDF] Aristophanes' Frogs: Brek-kek-kek-kek! on Broadway Mary English Montclair State University e-mail: englishm@mail.montclair.edu Aeschylus: Answer me—why should the dramatic poet be admired? Euripides: For cleverness and sound advice, and because we make the men of the cities better. Aristophanes, Frogs, 1008-1010 Thirty years ago, Robert Brustein, the dean of the Yale School of Drama, commissioned Burt Shevelove (...) to restage a production of Aristophanes' Frogs that Shevelove wrote during his graduate school days at Yale in 1941.1 The performances were to be held in the Olympic-size swimming pool of the Payne Whitney Gymnasium. Shevelove asked Stephen Sondheim, with whom he had collaborated on A Funny Thing Happened on the Way to the Forum, to compose the lyrics for the musical numbers and Carmen de Lavallade to choreograph the dance pieces. The cast included students at the Yale School of Drama (among the chorus were Christopher Durang, Meryl Streep, and Sigourney Weaver), and, as in 1941, members of the Yale swim team were assembled for the frogs. In addition to stripping the original Greek script of most of its topical allusions, Shevelove updated the comic agōn by replacing Aeschylus with Shakespeare and Euripides with George Bernard Shaw, whose detractors, much like Euripides' opponents, characterized him as "subversive" and "unpatriotic" and believed that his plays favored criticism over commitment. Broadway columnists traveled to New Haven to review the [End Page 127] performances, and, for the most part, the response was positive.2 Despite this acclaim, however, only a few other directors in the intervening years have dared to stage this imaginative adaptation.3The Lincoln Center Theater decided to mark its twentieth anniversary with a revision of this script that poses an answer to Aeschylus' question in Frogs, "Why should the dramatic poet be admired?" The production owes its very existence to the advocacy of Nathan Lane,4 who shrewdly decided to employ the talents of Tony Award-winning Susan Stroman as choreographer and director. Lane updated the original script, and he and Stroman convinced Sondheim to write additional songs for the libretto. In an interview with John Guare, Lane revealed that he saw Aristophanes' Frogs as speaking directly to challenges of our times: "There's something idealistic about the notion of someone believing that the arts can make a difference, that you can effect a change. Dionysos' dream to go down to Hades and bring back this great writer who could actually have an effect on the world, it's noble and touching and crazy—all at the same time. I found it moving, in light of what was going on in the world."5 Stroman, too, believed that Frogs could offer comfort not only to fifth-century Athenians embroiled in a thirty-year civil conflict but also to those trying to rebuild their lives after the recent terrorist attacks: "And when Nathan first brought this [script] to me, it was only a [End Page 128] year after September 11th. We were all still reeling. I think that's another reason I was attracted to the play immediately. Usually, when one grieves, you can go somewhere and have a little relief from it. But when September 11th happened, the entire city of New York was grieving. There was nowhere to go, and there would be nowhere to go for a very long time. No one was stepping forward who could truly speak about what just had happened. No one could find words to comfort us or explain these images we were overwhelmed with daily. There was no one to ease our hearts."6 Although the links that Lane and Stroman draw between fifth-century Athens and New York often work well—the topical jokes about George Bush elicited veritable "hooting and hollering" from the typically reserved Broadway theatergoers—the play's final message, that a dramatic poet, in this case Shakespeare, can save the world from its present woes (or at least help it along), seems unlikely to satisfy an audience whose... (shrink)

Mastery imagery (i.e., images of being in control and coping in difficult situations) is used to regulate anxiety. The ability to image this content is associated with trait confidence and anxiety, but research examining mastery imagery ability's association with confidence and anxiety in response to a stressful event is scant. The present study examined whether trait mastery imagery ability mediated the relationship between confidence and anxiety, and the subsequent associations on performance in response to an acute psychological stress. Participants (N= (...) 130; 55% male;Mage= 19.94 years;SD= 1.07 years) completed assessments of mastery imagery ability and engaged in a standardized acute psychological stress task. Immediately prior to the task, confidence, cognitive and somatic anxiety intensity, and interpretation of anxiety symptoms regarding the task were assessed. Path analyses supported a model whereby mastery imagery ability mediated the relationship between confidence and cognitive and somatic anxiety interpretation. Greater mastery imagery ability and confidence were both directly associated with better performance on the stress task. Mastery imagery ability may help individuals experience more facilitative anxiety and perform better during stressful tasks. Improving mastery imagery ability by enhancing self-confidence may help individuals successfully cope with anxiety elicited during stressful situations. (shrink)

This paper reports the results of a workshop held in January 2013 to begin the process of establishing standards for e-learning programmes in the ethics of research involving human participants that could serve as the basis of their evaluation by individuals and groups who want to use, recommend or accredit such programmes. The standards that were drafted at the workshop cover the following topics: designer/provider qualifications, learning goals, learning objectives, content, methods, assessment of participants and assessment of the course. The (...) authors invite comments on the draft standards and eventual endorsement of a final version by all stakeholders. (shrink)

The AAR-SBL Women’s Caucus session on ‘Beyond Down and Dirty: From Good to Great Sex’ revisited the Good Sex: Feminist Perspectives from the World’s Religions project and book with the participation of two of its co-editors, Mary E. Hunt and Patricia Beattie Jung, and co-author and collaborator, Wanda Defeilt. Scholar colleagues, Brandy Daniels, Fitri Junoes, and Alicia Besa Panganiban, presented intriguing papers on feminist religious and ethical reflections on what constitutes great sex as they examined the issues discussed by (...) feminist scholars and activist authors of Good Sex. Moreover, the session was an exhilarating dialogue of international, interreligious, and intergenerational perspectives on what women think is great sex. It was an exciting starting ground for intergenerational discussion with senior scholars, associated with the Good Sex book, providing generous, constructive, and well-considered responses to the presentations of their colleagues. The diverse international audience of masters, doctoral and senior scholars – male and female – was included in the complex, fun, and challenging discussion of sex. Amidst various issues raised, there was a consensus that discussions on great sex must address issues of safety, justice, and pleasure. Overall the session was a success as the platform for the presentations modelled a feminist method that was intentionally designed to give more time for discussion, not only among panelists but also with the audience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FOR A NON-VIOLENT ACCORD: EDUCATING THE PERSON Marie-Louise Martinez Education has been criticized, no doubt justly, for the symbolic violence of its prohibitions and exclusionary rituals that mirror the violence of society (Bourdieu, etc.). But this criticism is short-sighted. When restraints are removed in teaching and education (in the family and in the school), violence wells up anew and produces at least the following two results: access to meaning (...) and knowledge is restricted; access to the law and its structure-inducing prohibitions is restricted. The result is that we foster vulnerable personalities who confuse fiction and reality, and who do not hesitate to turn their violence into acts of hostility directed toward themselves, other people, and society. A further consequence has been a certain violent non-differentiation that has tended in turn to produce a violent re-differentiation ofsociety. There is a nostalgia everywhere today for a return to discipline, to the rule oflaw, etc. One hears talk of the "sanctuary of the classroom" or again of the necessity of preserving a "symbolic cloister." We are not able, purely and simply, to feel remorse for having maintained the rule ofa violent symbolic order. One might ask in what the symbolic consists. How is it connected to teaching and education? Is there not a fundamental violence in the symbolic? Does there exist a less violent symbolic, or even a non-violent one? How might one define it and put it to work in teaching and education? Girardian theory can help us to reinterpret various contributions from a number of authors in the human sciences (Benveniste, Lacan, etc.) and from the personalist philosophy of language. I would like to propose the hypothesis that there are two stages ofthe symbolic: first, a violent symbolic accord and, second, a non-violent threshold within the symbolic, which alone can serve as an appropriate model for teaching and education. 56Marie-Louise Martinez I. The symbolic and its powers. We are not using symbolic in its specific sense as metaphorical or figurative language as it occurs in myth and poetry but in a more general sense, i.e., to refer to the totality ofthe sign and code systems employed by human beings, as that which allows for the production and deployment of significations within society. Stemming from the Greek symbolein (to throw or put together, to assemble), the symbolic is that type or order of signs that assembles. Much more than the pure language of linguistics, the symbolic is the totality ofverbal, non-verbal, and para-verbal conventions, of systems ofexchange, and ofrites. It also comprises the regulated use ofbodies and ofnature. Our definition ofthe symbolic is not idealist: more than simply the expression of ideas, it is also interaction and action, on oneself, on others, and the world. It includes technical and bodily activities to the degree that these have been codified. In this sense, the symbolic (in agreement with philosophers as diverse as Cassirer or Clifford Geertz) can be said to embrace the totality of what is called culture. But ifthe symbol throws orputs together, it is necessary to discuss what and why and how it does so. The modern science ofsigns (semiology) has shown that the sign or symbol serves to place in relation. Relying on the contemporary semiology that stems from the American philosopher Pierce, and also on the work of Francis Jacques in France, we can say that this relation, far from being a simple binary one (sign/referent or sign/signifier) is a complex relation which aligns signs with the objects to which they refer, but also with the people deploying those signs. This latter signifying relation, which is intersubjective and social, was invisible in Saussurean semiology. In itself, the symbolic is the product of a complex relation which links people among themselves and the things referred to by the agency of signs. In other words, the basis of the signifying relationship is not the dyad subject/object (relation to objects) but a triadic relation, subject/ subject/object (intersubjective and objectai). This triangular relationship, which traverses the intersubjective and the objectai, is a relationship of convention, underlined in antiquity by Plato in the Cratylus (for Hermogenes, a word... (shrink)

Long recognized as one of the main branches of political science, political theory has in recent years burgeoned in many different directions. Close textual analysis of historical texts sits alongside more analytical work on the nature and normative grounds of political values. Continental and post-modern influences jostle with ones from economics, history, sociology, and the law. Feminist concerns with embodiment make us look at old problems in new ways, and challenges of new technologies open whole new vistas for political theory. (...) This Handbook provides comprehensive and critical coverage of the lively and contested field of political theory, and will help set the agenda for the field for years to come. Forty-five chapters by distinguished political theorists look at the state of the field, where it has been in the recent past, and where it is likely to go in future. They examine political theory's edges as well as its core, the globalizing context of the field, and the challenges presented by social, economic, and technological changes."This is a unique and impressive set of analyses about scholarship in political theory. It is comprehensive, as we would expect. Beyond that, it is remarkably creative in the way that Dryzek, Honig and Phillips have organized categories, and it includes much overdue reference to scholarship on non-Western and postcolonial thought."-Iris Marion Young, Late Professor of Political Science at the University of Chicago"This extraordinary series offers 'state of the art' assessments that instruct, engage, and provoke. Both synoptic and directive, the fine essays across these superbly edited volumes reflect the ambitions and diversity of political science. No one who is immersed in the discipline's controversies and possibilities should miss the intellectual stimulation and critical appraisal these works so powerfully provide."-Ira Katznelson, Ruggles Professor of Political Science and History, Columbia UniversityJohn S. Dryzek is Professor of Social and Political Theory at Australian National University.Bonnie Honig is Professor of Political Science at Northwestern University.Anne Phillips is Professor of Gender Theory at the London School of Economics.Introduction, John S Dryzek, Bonnie Honig, and Anne PhilipsI. CONTEMPORARY CURRENTS1. Justice After Rawls, Richard Arneson2. Power After Foucault, Wendy Brown3. Critical Theory Beyond Habermas, William E Scheuerman4. Feminist Theory and the Canon of Political Thought, Linda Zerilli5. After the Linguistic Turn: Poststructuralist and Liberal Pragmatist Political Theory, Paul Patton6. The Pluralist Imagination, David SchlosbergII. THE LEGACY OF THE PAST7. Theory in History: Problems of Context and Narrative, J G A Pocock8. The Political Theory of Classical Greece, Jill Frank9. Republican Visions, Eric Nelson10. Modernity and its Critics, Jane Bennett11. The History of Political Thought, as Disciplinary Genre, James FarrIII. POLITICAL THEORY IN THE WORLD12. The Challenge of European Union, Richarad Bellamy13. East Asia and the West: The Impact of Confucianism on Anglo-American Political Thought, Daniel A Bell14. In the Beginning all the World was America: American Exceptionalism in New Contexts, Ronald J Schmidt Jr15. Changing Interpretations of Modern and Contemporary Islamic Political Theory, Roxanne L EubenIV. STATE AND PEOPLE16. Constitutionalism and the Rule of Law, Shannon Stimson17. Emergency Powers, John Ferejohn and Pasquale Pasquino18. The People, Margaret Canovan19. Civil Society and State, Simone Chambers and Jeffrey Kopstein20. Democracy and the State, Mark E Warren21. Democracy and Citize. (shrink)

O objetivo deste estudo foi verificar se professores de ensino universitário e de ensino não universitários de instituições educacionais particulares da região metropolitana de Porto Alegre - RS diferem quanto às dimensões que caracterizam a Síndrome de Burnout: Exaustão Emocional, Despersonalização..

Intellectual contribution in the form of authorship is a fundamental component of the academic career. While research has addressed questionable and harmful authorship practices, there has largely been no discussion of how U.S. academic institutions interpret and potentially mitigate such practices through the use of institution-level authorship policies. To gain a better understanding of the role of U.S. academic institutions in authorship practices, we conducted a systematic review of publicly available authorship policies for U.S. doctoral institutions, focusing on components such (...) as specification of authorship criteria, recommendations for discussing authorship, dispute resolution processes, and guidance for faculty-student collaborations. We found that only 24% of the 266 Carnegie R1 and R2 Universities had publicly available authorship policies. Within these policies, the majority specified criteria for authorship, but provided less guidance about actual processes for applying such criteria, handling authorship disputes, and managing faculty-student author teams. Further, we found that any discussion of dispute resolution practices typically lacked specificity. Recommendations grounded in these findings are offered for institutions to leverage their ability to guide the authorship process by adopting an authorship policy that acknowledges disciplinary diversity while still offering substantive guidance. (shrink)

Background: As actors with the key responsibility for the protection of human research participants, Research Ethics Committees (RECs) need to be competent and well-resourced in order to fulfil their roles. Despite recent programs designed to strengthen RECs in Africa, much more needs to be accomplished before these committees can function optimally.Objective: To assess training needs for biomedical research ethics evaluation among targeted countries.Methods: Members of RECs operating in three targeted African countries were surveyed between August and November 2007. Before implementing (...) the survey, ethical approvals were obtained from RECs in Switzerland, Cameroon, Mali and Tanzania. Data were collected using a semi-structured questionnaire in English and in French.Results: A total of 74 respondents participated in the study. The participation rate was 68%. Seventy one percent of respondents reported having received some training in research ethics evaluation. This training was given by national institutions (31%) and international institutions (69%). Researchers and REC members were ranked as the top target audiences to be trained. Of 32 topics, the top five training priorities were: basic ethical principles, coverage of applicable laws and regulations, how to conduct ethics review, evaluating informed consent processes and the role of the REC.Conclusion: Although the majority of REC members in the targeted African countries had received training in ethics, they expressed a need for additional training. The results of this survey have been used to design a training program in research ethics evaluation that meets this need. (shrink)

Much controversy has surrounded the use of animals in research. Empirically, much of the research has focused on how ethical individuals believe animal research to be, but it has not systematically examined the specific beliefs or reasons why individuals do or do not believe animal research to be ethical. Study 1 investigated the thematic foundations for the decision that animal research is or is not ethical by examining the content of essays written by participants explaining why they do or do (...) not support the use of animals in research. Results indicated that individuals who believed animal research was ethical most often referenced beliefs that animal research furthered human well-being, provided mechanisms to cure disease, and was well-regulated. Individuals who believed animal research was not ethical most often referenced beliefs that animal research was inhumane, unnecessary, and nonconsensual. Study 2 used the themes to create a scale to assess animal research attitudes. (shrink)

My study of Mary Shelley and father includes her husband because Percy Shelley’s obsessions with patriarchy, with “ ‘GOD, AND KIND, AND LAW,’ ” influenced profoundly Mary’s* art and life. Percy’s idealizations of father in The Revolt of Islam and Prince Athanase indicated ways or resolving familial antagonisms which Mary adopted and developed her later fiction. Percy’s relationship with Frankenstein is still more intricate. Recognizing that her husband’s obsessions with father and self-creation were contributing to the deterioration (...) of their marriage, Mary represents these obsessions in Victor Frankenstein—partly to vent in art the anger which would have further damaged the marriage, and party to show Percy before it was too late the errors of his ways. It was too late. Percy responded to Frankenstein in Prometheus Unbound and The Cenci with a reaffirmation of sonship which has been largely unrecognized by scholars.Father looms so large for both Mary and Percy Shelley that no one critical approach can account for him fully. At their most idealistic—and thus most traditional—the Shelleys encourage a critical methodology which integrates the traditional disciplines of biographical and close textual analyses. By taking this approach to Mary’s later fiction and to Percy’s The Revolt of Islam, I can not only confirm the prominence of father for the Shelleys but also establish the ideal against which their most subversive and important art was created. Reading this indirect, overdetermined art in light of the negative Oedipus will help answer important questions about Frankenstein, Prometheus Unbound, and The Cenci and will, I hop, add to our understanding of the vexed role of father in the Romantic period and in subsequent generations whose children we are. William Veeder, professor of English at the University of Chicago, has published books on Yeats, Henry James, and Victorian feminism. His Mary Shelley and “Frankenstein”: The Fate of Androgyny will appear in December 1985. The Art of Criticism: Henry James on the Theory and the Practice of Fiction, coedited with Susan M. Griffin, and Dr. Jekyll and Mr. Hyde: The Centenary, a collection of new essays on Stevenson’s novel, are also forthcoming . He is currently at work on The Serpent’s Tale: Anglo-American Gothic Fiction, 1885-1914. (shrink)

Between 1937 and 1940 the Taxonomic Principles Committee of the newly-founded Association for the Study of Systematics in Relation to General Biology (later the Systematics Association) attempted to define the relationship between evolution and taxonomy. The people who took part in the discussion were W.T. Calman, C.R.P. Diver, J.S.L. Gilmour, J.S. Huxley, W.D. Lang, J.R. Norman, R. Melville, O.W. Richards, M.A. Smith, T.A. Sprague, H. Hamshaw Thomas, W.B. Turrill, B.P. Uvarov, A.F. Watkins, E.I. White, and A.J. Wilmott. Most of the (...) botanists asserted that taxonomy was a practical matter to be kept distinct from phylogenetic speculation, and most of the zoologists insisted that taxonomists must strive to represent evolution if they wished to be scientific. The disagreement seemed to be hardening rather than approaching compromise when World War Two stopped the committee's work. (shrink)

Does a hard-headed realist approach to international politics necessarily involve scepticism towards progressive foreign policy initiatives and global reform? Should proponents of realism always be seen as morally complacent and politically combative? In this major reconsideration of the main figures of international political theory, Bill Scheuerman challenges conventional wisdom to reveal a neglected tradition of progressive realism with much to contribute to contemporary debates about international policy-making and world government. Far from seeing international reform as well-meaning but potentially irresponsible idealism, (...) progressive realists like E.H. Carr, John Herz, Hans J. Morgenthau, and Reinhold Niebuhr developed forward-looking ideas which offer an indispensable corrective to many presently influential views about global politics. Progressive realism, Scheuerman argues, offers a compelling and provocative vision of radical global change which - when properly interpreted, can help buttress current efforts to address the most pressing international issues. After recovering key subterranean strands in mid-twentieth century realism, Scheuerman underscores their relevance to contemporary international theory. Criticizing more recent realists for abandoning their tradition's best insights, he also demonstrates that reform-minded international theories - including versions of cosmopolitanism, constructivism, the English School, liberalism, and republicanism - could all benefit from taking Progressive Realism seriously. A major contribution both to the history of international relations and contemporary debates in international theory, The Realist Case for Global Reform concludes by considering how progressive realism informs the foreign policies of US President Barack Obama. (shrink)

In this article, the authors consider the use of a “Playlist of My Life Assignment” in helping social studies (SS) and English language arts (ELA) teacher candidates (TCs) conceptualize multimodal and humanizing SS and ELA curricula. The Playlist Assignment asked teacher candidates to center the music, texts, land, spaces, and places that are most important to them, and potentially relate these back to their own pedagogies as SS and ELA teachers. Taken from two qualitative studies of two teacher education (...) courses at two separate, large research universities in the U.S. Southwest, this article examines teacher candidates’ understandings of their disciplines as humanizing and multimodal, and as centered in their and their students’ communities, through the Playlist Assignment. Data included the Playlist Assignment, curated by TCs in each methods course, and TCs’ class response journals. TCs offered profound texts they carried within them throughout their lives, demonstrating (1) their multimodal disruptions of the definition of a “text” and (2) the empowering and limiting effect of life texts for humanizing curricula. This work has implications for SS and ELA teacher educators interested in supporting teacher candidates as they conceptualize multimodal and humanizing curricula with and for their future students. (shrink)

The particular argument which Prior selects is supposed to show that the Arminian hypothesis, viz. volitions are uncaused events, has consequences that are logically unacceptable or at any rate counterintuitive. Prior makes two claims: Edwards' argument depends on false metaphysical premises. When these are revised, uncaused events, e.g., volitions, may be acknowledged without embarrassment. If the scope of Edwards' argument is restricted, then it is, in Prior's phrase, "entirely cogent." I shall try to show that Prior is mistaken on both (...) points: the argument in question is not--at least not on any interpretation that I can think of--cogent at all, but it does serve to raise an interesting question of which Prior takes no account. (shrink)

Any even cursory examination of what it is to exchange words about X or to exchange views about Y requires hard thought about what it is to exchange, period. How do we invest in what we give out, and how do we get it back? In kind, or differently moneyed? And, more crucial to the topic into which I am about to make a foolhardy plunge, is there such a thing as free exchange? And if so, what is it worth?How (...) do we perceive worth anyway? What relation does such perception of the invisible system of the initially visible coinage of exchange bear to present visual perception, and then to seeing? And what does perception matter anyway, in relation to writing, reading, and exchanging words? Which is primary?All these questions—in their institutional setting, or then in their freedom from context—can themselves be related to and gathered up into the notion of translation, or the carrying over from one side to, and into, another. All we can learn about speaking and the ways it is taught, reading and the ways we learn it, seeing and the ways it teaches us is translated and transported from sight and its constraints and choices to language and its own. How we read both is itself a subject of choice and constraint, of freedom and explicit value-placing, of variety and fidelity to certain ends. Mary Ann Caws is professor of English, French, and comparative literature in the Graduate School, City University of New York. She is past president of the Modern Language Association and the author of, among other works, The Eye in the Text: Essays on Perception, Mannerist to Modern , Architextures in Surrealism and After , Reading Frames in Modern Fiction , and Interferences. (shrink)

It is just over eighty years since G. E. Moore published Principia Ethica , thereby changing English-speaking moral philosophy for the rest of the century. Just why and how was that book so important?

In this new installation of his work, William E. Connolly examines entanglements between volatile earth processes and emerging cultural practices. He highlights relays between extractive capitalism, self-amplifying climate processes, migrations, democratic aspirations, and fascist dangers. In three interwoven essays, Connolly takes up thinkers in the "minor tradition" of European thought who, unlike Cartesians and Kantians, cross divisions between nature and culture. He first offers readings of Sophocles and Mary Shelley, asking whether close attention to the Anthropocene could perhaps (...) have arrived earlier had later humanists absorbed their lessons. He then joins Deleuze and Guattari's notion of an abstract machine with contemporary earth sciences, doing so to compare the Antique Little Ice Age in late Rome to relays today between extractive capitalism and accelerating climate processes. The final essay stages a dialogue between Alfred North Whitehead and Michel Foucault about the pursuit of truth during a time of planetary turbulence. With _Climate Machines, Fascist Drives, and Truth_, Connolly forges incisive interventions into key issues of our time. (shrink)

The monster and the woman thus find themselves on the same side, the side of dissimilarity. “The female is as it were a deformed male,” added Aristotle . As she belongs to the category of the different, the female can only contribute more figures of dissimilarities, if not creatures even more monstrous. But the female is a necessary departure from the norm, a useful monstrosity. The monster is gratuitous and useless for future generations. Aristotle’s seminal work on the generation of (...) monsters posited a rigorously physical definition that was not necessarily linked to deformities: “Monstrosities,” he wrote, “come under the class of offspring which is unlike its parents” . Further, while a “monstrosity, of course, belongs to the class of ‘things contrary to Nature,’ … it is contrary not to Nature in her entirety but only to Nature in the generality of cases” .The monster, defined repeatedly by its lack of resemblance to its legitimate parents, is also monstrous in another important way, one that Aristotle described as a false resemblance to different species: “People say that the offspring which is formed has the head of a ram or an ox; and similarly with other creatures, that one has the head of another.… at the same time, in no case are they what they are alleged to be, but resemblances only” . The monster is thus a double imposture. Its strange appearance—a misleading likeness to another species, for example—belies the otherwise rigorous law that children should resemble their parents. Further, monsters offer striking similarities to categories to which they are not related, blurring the differences between genres, and disrupting the rigorous order of nature. Thus, if the monster were defined in the first place as that which did not resemble him who engendered it, it nevertheless displayed some sort of resemblance, albeit a false resemblance to an object external to its conception. Marie-Hélène Huet is William R. Kenan Professor of Romance Languages at Amherst College. She is the author of Rehearsing the Revolution: The Staging of Marat’s Death, 1793-1797 and is currently completing a book on literature and tetratology. (shrink)