The twentieth century evolved several ways of treating literary authorship in terms of an object rather than a subject. One tradition, derived more or less distantly from late nineteenth century symbolism, identifies the source of authorship with the medium, the tradition, or language itself. Exponents of this view include writers as different as T. S. Eliot, Martin Heidegger, and Paul De Man. A second tradition, associated most closely with Michel Foucault, understands authorship in terms of impersonal social structures. Both of (...) these traditions move the question of authorship from subject to object by bypassing the experience of the writer. I outline a third tradition, one that locates the movement from who to what within the experience of authorship itself. I enumerate key features of this model of authorship—which represents a revision of the classical concept of inspiration—through close readings of poems by Sylvia Plath and Jorie Graham. (shrink)

Redish et al. propose a constellation of vulnerabilities inherent in the brain's decision-making system. They allow over-attention to cues a minor role in drug addiction. We think this is inadequate. Using the established links among drug cues, dopamine, and novelty, we propose a fuller account of this key feature of addiction, which we call the phenomenon of cue fascination.