Postcolonial criticism has repeatedly debunked the ostensible neutrality of the ‘world’ of world literature by pointing out that and how the contemporary world – whether conceived in terms of cosmopolitan conviviality or neoliberal globalization – cannot be understood without recourse to the worldly event of Europe’s colonial expansion. While we deem this critical perspective indispensable, we simultaneously maintain that to reduce ‘the world’ to the world-making impact of capital, colonialism, and patriarchy paints an overly deterministic picture that runs the risk (...) of unwittingly reproducing precisely that dominant ‘oneworldness’ that it aims to critique. Moreover, the mere potentiality of alternative modes of world-making tends to disappear in such a perspective so that the only remaining option to think beyond oneworldness resides in the singularity claim. This insistence on singularity, however, leaves the relatedness of the single units massively underdetermined or denies it altogether. By contrast, we locate world literature in the conflicted space between the imperial imposition of a hierarchically stratified world (to which, as hegemonic forces tell us, ‘there is no alternative’) and the unrealized ‘undivided world’ that multiple minor cosmopolitan projects yet have to win. It is precisely the tension between these ‘two worlds’ that brings into view the crucial centrality not of the nodes in their alleged singularity but their specific relatedness to each other, that both impedes and energizes world literature today and renders it ineluctably postcolonial. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:220 THEATRE AND RELIGIOUS HYPOTHESIS* We are placed in this world, as in a great theatre, where the true springs and causes of every event are entirely concealed from us.... David Hume La collection des idées s'appelle imagination, dans la mesure où celleci désigne, non pas une faculté, mais un ensemble des choses, au sens le plus vague du mot, qui sont ce qu'elles paraissent: collection sans album, pièce (...) sans théâtre, ou flux des perceptions.. Gilles Deleuze In Part III of Hume's Dialogues concerning Natural Religion the character Demea contests the analogy drawn by Cleanthes between an orderly world and a coherent, articulate speech, stating that, When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. To begin reading Hume's Dialogues with such false and naive premises would inevitably result in a failure to pick up on all the different voices in this text. In fact, no written text can really enable a reader "to enter into the mind and intention of the author." Moreover, such a predisposition on behalf of a naive reader will become further complicated by the processes of 'distanciation' and avoidance of a central point of view, which are brought into play by Hume in this text, where religion is being considered from a purely speculative point of view. Hume has in fact given the reader a clue in the introduction as to how 221 to approach reading the Dialogues. when Pamphilus, the narrator, expounds to his friend Hermippus the advantages of presenting a discussion in the form of a dialogue rather than as a direct statement. He argues that by using a dialogue it is possible to avoid any overtones of an author addressing his reader, or a pedagogue his pupil (D 127). Confronted with a text that is paradoxically both lucid and unclear, any reader whose attitude is still limited by certain metaphysical categories might very well want to know who is actually Hume's spokesman and who he is really addressing in this discussion on the nature and existence of God. These questions are in fact related to traditional oppositions, such as that between a central and subsidiary point of view in a dialogue; between the essential and non-essential of a discussion. In his Dialogues, Hume creates a second degree of separation between himself and the characters involved in the discussion by using the literary process of 'distanciation', when he introduces the fictitious character Pamphilus, who tells Hermippus of the discussions he has heard. From this point of view the style of the text is immediately more disconcerting than Cicero's De Natura Deorum, (which inspired Hume's text), as Cicero does identify himself with his narrator, such that any effect of distanciation is far smaller. Cicero's narrator does, however, emphasize that the multiplicity of points of view in this text results in a certain degree of scepticism and suspension of judgement: "Though it is possible that they are all of them false, it is impossible that more than one of them is true" (p. 71). As Hume does in his Dialogues, Cicero here tries to avoid imposing a 222 central point of view or a single authoritative angle to his discussions, as if given by a teacher; in fact, "in a discussion of this kind our interest should be centred not on the weight of the authority but on the weight of the argument" (p. 73). Thus, wearing the mask of Pamphilus, Hume can play an ironic role, without having to give a central point of view, by having his character present the idea that "reasonable men may be allowed to differ, where no one can reasonably be positive" (D 128). These two texts therefore use the same process of disassociation from a central truth by using a supposedly neutral narrator. When reading the Dialogues one can rely neither on the authority of the author, as he has hidden himself away in the shadows backstage, nor on that... (shrink)

Central to this essay is the understanding that varied communities may have an inherent and unrecognised culture of their own and this culture may be detrimental to their core. Bioethics constitutes one such community and is embedded in norms and values comprising its own culture. I use exclusion of religion or simply ‘irreligion’ as an example of a cultural element that may be established and so shape the culture of bioethics. Irreligious bioethics includes both overt religious preclusion and the more (...) pervasive form of religious marginalisation. This norm is narrated into the culture of bioethics with justifications sustaining it. Irreligious bioethics is inadmissible as it claims illegitimate neutrality, is a misuse of expertise and results in a variety of harms. As bioethics is influential in society, those engaged should be critically reflective and aware of harmful cultural elements whilst also possessing the honesty, courage and capacity to change them. (shrink)

Much has been written on the respondent’s perspective but fewer studies have recognized that “perspectives other than those drawn from the discipline come into play for the interviewer” (Warren in Handbook of interview research, Sage, Thousand Oaks, CA, 2002: 84). In the article we show that the interviewer uses different strategies of identity management and different standpoints as resources to accomplish and account for one of the main interviewer’s duties, namely to achieve an “understanding of the world from the subjects’ (...) points of view” (Kvale in Interviews: An introduction to qualitative research interviewing, Sage, Thousand Oaks, CA, 1996: 1). We examine instances in which the interviewer displays a “neutral” posture, showing adherence to her institutional identity, and instances in which she positions herself as an “embodied subject,” disclosing her personal involvement, stepping out of the role and displaying an identity and a standpoint in common with that of the interviewee. We show how such strategies of identity management (1) prompt either identification or divergence of viewpoints between the interviewer and the interviewees; (2) affect the degree of intimacy among participants and spontaneity in conversation. By means of these two strategies, we discuss, the interviewer accomplishes and accounts for her professional ability to understand the interviewees’ standpoints. In particular such strategies are two ways of accounting for an ethical relationship with the interviewees, which, respectively, emphasize either the impartiality or the reciprocity in understanding. Our purpose is not to suggest that one strategy is to be preferred on the other, but, rather, to illustrate how both the “neutral” and the “embodied” posture are situated practices through which the interviewer attempts to preserve the respondents’ viewpoint on the narrated events. (shrink)

From the modern period until the present day, artworks have exhibited a well-known paradox: they promise a rich aesthetic experience and revolutionary qualities of innovation while simultaneously serving as a luxury commodity whose sale is directed toward a global class of oligarchs. Art's Properties proposes a new way of understanding this paradox, relating art's qualities-its properties-to its status as commercial property. In Art's Properties, esteemed art historian and theorist David Joselit argues that art's fundamental ontological property is its capacity to (...) give access to experiences of alterity--the state of being other, or different. These experiences may appear as the image of a god, or the utopian dimensions of a black square on a white ground. Joselit goes on to explore artwork's relation to infinitude. As he explains, every work of art, in its material and visual qualities, can be host to an unlimited number of events and encounters with spectators, which persist through and over time. This infinitude is curtailed as art becomes property and is made to serve as a representation. In the modern period, white artists have been presumed to manifest an unmarked, supposedly neutral national character in Europe and the United States, while artists of color are often made to stand in for the identity attributed to them. In place of this dynamic of representation, Art's Properties will advocate for privileging narration over representation. While representation is finite-one thing is put in the place of another-narration has no end; it can be multiplied to encompass the many stories an artwork might enable. In focusing on the forms of narration that an artwork can contain, this book explores art's infinite aesthetic and material alterity. (shrink)

This paper recognises the many contributions to work on environmental values while arguing that some reconsideration of elicitation practices is warranted. It argues that speaking and thinking about certain environmental values, particularly ethical expressions, are ill-matched with the affectively neutral, direct question-answer formats standard to willingness-to-pay and survey methods. Several indirect, narrated, and affectively resonant elicitation tasks were used to provide study participants with new opportunities to express their values. Coded results demonstrate that morally resonant, image- based, and narrative-style elicitation (...) tasks help respondents articulate a broader range of noncost and nonutilitarian environmental values. However, it was found that elicitations of this kind are most useful when presented in a affectively subtle and noncontroversial form. Several suggestions for synthesising these methods with more structured forms are offered. (shrink)

The article draws a conceptual distinction the (French) structuralism of the 50’s–60’s and the post-structuralism of the 70’s, which are discussed as overlapping in their intellectual paths; their mutual dynamics is defined as a reaction of the intelligence to the pressure of depersonalized unified schemes within the logic of structuralism against free improvisation and loose interpretation instead of total explanations in the post-structuralism interpretation. The article establishes a conceptual identity of the paradoxical nature between post-structuralism (and deconstructionism, which is homogeneous (...) and identical thereto in a number of aspects), on the one hand, and constructionism with its specific process of language dismantling – social/ideological languages, social group dialects, on the other hand, which naturally leads the authors to the analysis of the paradoxicality principles, defined by post-structuralism (five principles of paradoxicality of Gilles Deleuze – paradox of regress, paradox of sterile reiteration, paradox of neutrality, paradox of absurd, paradox of Levi-Strauss); poststructuralists’ paralogisms are examined through paradoxical denotation; the late Roland Barthes’ phenomenon of paradoxicality, becoming a plot-forming principle of narration, is analyzed. Poststructuralism is conceptualized in the article as the first decisive step of post-modernism; the affinity of post-structuralist and postmodernist commitment to parody, game and irony is stated; the theory of language games in post-modern interpretation is explored; one of those games – a game of carnival – is explored within the diachronic retrospective; the affinity of parody and carnival tradition of post-structuralism and post-modernism to the romantic irony of the XIXth century and its inconsistency with the popular culture of laugh is established. The genesis of poststructuralism and post-modernism is connected with the ideological restart of the Western society before the “very end” of the Resistance ideas and the disappointment of the left European intellectuals in the “great legends” and illusions of Marxism. The blurred concepts of relativism are connected with the mutual disproportion of different layers of historical experience. (shrink)

The mystery does not always end when the crime has been solved. Indeed, the most insolvable problems of crime and punishment are not so much who committed the crime, but how to see that justice is done. Now, in this illuminating volume, one of America's great legal thinkers, Norval Morris, addresses some of the most perplexing and controversial questions of justice in a highly singular fashion--by examining them in fictional form, in what he calls "parables of the law." The protagonist (...) of these stories, the figure who must see that justice is done, is Eric Blair, a name familiar to most readers: it's the real name of George Orwell. In fact, Morris has set his tales in the time and place of Orwell's famous essay, "Shooting an Elephant," in Moulmein, Burma, in the 1920s. What might seem a curious strategy at first glance--borrowing Orwell's persona to narrate these tales--is actually a brilliant stroke. For in Eric Blair we have an ideal narrator to highlight the complexities of justice: an untrained police lieutenant and junior magistrate, uncertain of judgement--and all the more likely to anguish over judgement, and to examine every facet of a case before deciding. And in 1920s Moulmein we have a neutral time and space in which to consider--free of our own political, religious, or social prejudices--a set of contemporary legal and moral questions that rarely find so calm an arena. And these stories certainly address some highly charged issues--capital punishment, insanity as a murder defense, the "battered wife syndrome" as a murder defense, child custody, "parental neglect" due to religious conviction--to name a few. In each tale, Norval Morris excels at placing Blair at the center of a controversy that has no easy answer, and that he and he alone must decide. In the title story, for instance, a retarded boy, whose only understanding of sex comes from the brothel in which he works, accidentally murders a young girl while raping her, his only defense being "Please sir, I paid her." Blair can see that the boy doesn't realize that he has committed a crime, but both the Burmese and the European community of Moulmein demand the boy's execution. Does capital punishment make sense in such an instance? Does it ever make sense? To broaden our understanding of these intricate cases, Morris concludes each story with a perceptive and often provocative commentary on each issue. After "Brothel Boy," for instance, Morris points out that no reputable study has ever shown capital punishment to be an effective deterrent to future murders, and more surprisingly, that paroled murderers commit proportionately fewer homicides than paroled felons who used a firearm in the commission of their crime. Norval Morris is one of America's foremost experts on crime and punishment, and the stories collected here represent the culmination of a lifetime of thought on the major criminal law debates of our time. A reader of these tales will come away with a deeper understanding of these debates and with a profound respect for the intricacies of justice and the complexity of the law. (shrink)

In this paper, we will present an initial discussion, for the authors, that has emerged in our training spaces as markers of our experiences. A beginning of a debate that consists of the non-neutrality of Mathematics and, consequently, of Mathematics Education from a perspective that involves social issues, specifically racial issues. In this way, we bring to discuss the relationship of these areas as molds to which subaltern bodies are subjected in society. In what ways has Mathematics been used in (...) the most diverse spaces? Can Mathematics offer a welcoming space for black women? And for the queer community? In what ways has Mathematics been used by subaltern bodies? Concerned with these demands, we present here a brief explanation, and a possible environment, for discussions on how subalternized bodies have relied on mathematics to occupy different spaces and thus escape the oppressions and inequalities that surround them. In this article, we want to present an initial demand of ours, as a way of questioning the place of Mathematics and Mathematics Education beyond the discourses and metanarratives that are propagated in these areas, which, because they are so often narrated, become the only version when we talk about Mathematics. So that our demands, full of anguish, can give rise to other problems in the most diverse subjects. (shrink)

The relationship between emotional arousal and long-term memory is addressed in two experiments in which subjects viewed either a relatively emotionally neutral short story or a closely matched but more emotionally arousing story and were tested for retention of the story 2 weeks later. Experiment 1 provides essential replication of the results of Heuer and Reisberg and illustrates the common interpretive problem posed by the use of different stimuli in the neutral versus emotional stories. In Experiment 2, identical slides were (...) used in both the neutral and arousal stores. Two different stories were created by varying the narration that accompanied each slide. In both experiments, subjects who viewed the arousal story both experienced a greater emotional reaction to the story than did the subjects who viewed the neutral story, and subsequently exhibited enhanced memory for the story. Subjects in Experiment 2 who viewed the arousal story also recalled more slides than did the subjects who viewed the neutral story. This effect was greatest for story phase 2, the phase in which the emotional slide narration occurred. Because this enhanced retention of the story slides cannot be explained by any differences in the slides themselves, the results provide new evidence to support the contention that emotional arousal influences long-term memory in normal human subjects. (shrink)

The recurrent court-related mediation discourse studies have focused on mediation participants’ willingness. Drawing on a corpus of five situated recorded court-related civil mediation data in China, this article takes one of the frequently-used mediation resources ‘I don’t want X/y’ as a case study of formulating mediation ‘wants’. It is intended to explore mediation participants’ exploitation of the court-related mediation resources to express their mediation willingness/ intentions: how the mediator manipulates either side of the participants’ mediation discursive concepts; how the mediator (...) shift the trajectory of narrating the participants’ mediation dispute-facts to judging on the dispute-facts; and how the mediator deviates himself from the third-party neutral mediators’ mediating role. The value of analyzing this formulation ‘I don’t want X/y’ is to reveal the fact that such mediation practices in their recurrent environments might go against the court-related mediation principles such as being self-willingness, neutrality and uprightness. This article contributes to formulate mediation ‘wants’ strategically and promote the court-related mediation practices in the service of sequentially unfolding mediation interaction effectively. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 64.4 (2003) 599-618 [Access article in PDF] The "Herbert Butterfield Problem" and its Resolution Keith C. Sewell Dordt College Herbert Butterfield (1900-1979) 1 published The Whig Interpretation of History in 1931, a year after he became a Lecturer in the University of Cambridge. 2 He became Professor of Modern History in the university in 1944, the same year in which he published The (...) Englishman and His History. 3 This discussion addresses what J.G.A. Pocock referred to as das Herbert Butter-fieldproblem—that is, the problem of ascertaining the precise relationship between the arguments presented in these volumes. 4The Whig Interpretation of History of 1931 (hereafter, The Whig Interpretation) was a sustained critique of the motivation, methods and fallacious conclusions of the "Whig" practice of staging historiographical narratives anachronistically so as to produce a ratification of the present, or justification of a position currently espoused by the author. 5 The term "Whig," as Butterfield used it in 1931, referred to the nineteenth-century school of historiography that praised "progress," "protestantism," and "liberty" and that generally attributed the triumph of such principles to the beliefs and activities of generations of Whig politicians. 6 [End Page 599]The Whig Interpretation argued that the judgments concerning both progressive and reactionary individuals and movements in Whig historiography were anachronistic, in that they were based on general propositions held by the Whig historian in the present. To correct this error Butterfield argued that historiography should not be based upon any general propositions. Basing historiographical narratives on general propositions purporting to be of universal and unchanging validity was seen as inevitably placing them on an anachronistic basis. In The Whig Interpretation Butterfield required the historian to represent past "life itself " but to avoid doing so on the basis of a view or "interpretation" of past human experience and action. Historiographical narration should be free of any interpretative standpoint and equally open to any possible subsequent interpretation. For Butterfield "the historian carries us away from the world of general ideas. It is not for him to give a philosophical explanation of what happens in time and space"; "any history that he writes ought to be as capable of varied philosophical interpretation as life itself seems to be... the historian's explanation... is not a piece of general reasoning," and "if at any point we need further elucidation all that he can do is to take us into greater detail." 7 It seems appropriate to refer to this as Butterfield's "neutrality postulate." Butterfield subsequently used the term "technical history" to denote this methodological concept. 8As might be expected, such a neutrality postulate was replete with problems, however valid Butterfield's strictures towards Whig historiographical anachronism. How is the historian to abridge for the purposes of narration and explanation without interpreting? Butterfield argued that we are right to demand of the historian that "he shall not change the meaning and purport of the historical story in the mere act of abridging it." No theory should intrude. As the detailed complexity is abridged, there should be no loss of "the purport and tenor of the whole." 9 Abridgment was to be accomplished without interpretative perspective, even though sympathy and imagination are indispensable. 10 Such was Butterfield's prescribed antidote. Yet the exercise he recommended requires more than a specific statement of the concrete, the individual, and the particular. It also requires a general idea of the "meaning" of "the whole" that the historian is called upon not to distort. Indeed, Butterfield drew attention to the basis of his historical thinking when he asserted that while historical research does not provide proof of the existence of a providential order, it nevertheless provides evidence of how profound and mysterious are its workings. 11In The Whig Interpretation no attempt was made to reconcile the advocacy of a non-interpretative neutrality dealing exclusively with the individual, the [End Page 600] concrete and the particular, and Butterfield's actual belief in a providential order to which the historical process is subject. After 1931... (shrink)

The goal of the present study is to explore whether the affective states of a pedagogical agent in an online multimedia lesson yields different learning processes and outcomes, and whether the effects of affective PAs depend on the learners’ emotion regulation strategies and their prior knowledge. In three experiments, undergraduates were asked to view a narrated animation about synaptic transmission that included either a happy PA or a neutral PA and subsequently took emotions, motivation, cognitive outcomes tests. Across three experiments, (...) the happy PA group reported more positive emotions and higher level of motivation than the neutral PA group. Moreover, the happy PA prompted higher germane load than a neutral PA in Experiment 3. However, adding a happy PA to the screen did not improve learning performance. In addition, in Experiment 2, learners’ usage of emotion regulation strategies moderated the effectiveness of affective PA on positive emotions in learners. Specifically, happy PAs increased the positive emotions of students who used expressive suppression strategy but not those who used cognitive reappraisal strategy. In Experiment 3, the effectiveness of affective PAs was not moderated by learners’ prior knowledge. Results support the cognitive affective theory of learning with media that students are happier and more motivated when they learn from happy PAs than from neutral PAs. (shrink)

My article discusses the character of Marla, the narrator’s lover, in the film Fight Club. Her only option, within the terms of the film’s logic, I argue, is to define her worth derivatively, by association with the narrator. Fight Club, then, despite its somewhat self-effacing attitude about the rejuvenation of masculinity that it portrays, reinforces a familiar patriarchal story: men’s sense of worth lies in their joint world-making activities. Women’s sense of worth lies in their attachment to individual men who (...) undertake these activities. My main argument builds upon three preliminary discussions. The first is a brief outline of the contours of the concept of self-respect. The second is an analysis of the links between gender, personhood and the grounds of self-respect. The third is an account of my approach to interpreting Fight Club given its many layers of irony. Drawing on these preliminary discussions, I examine two interpretations of the film’s social commentary— what I call the “gender-neutral” and the “gender-specific” interpretations. I show that on both of these readings the film implies that Marla, as a woman, must regain her self-respect through an intimate relationship with the narrator. (shrink)

his study explores Pynchon’s mammoth novel, Against the Day, in terms of the minor practice of language as proposed by Deleuze and Guattari in their book Kafka: Toward a Minor Literature, which opens up new possibilities for literary criticism. With his idiosyncratic, intensive, and inventive practice of language, Pynchon shatters the already existing notions of appropriate and homogenizing forms of major language. The novel demystifies the language’s institutionalized system of signification and defies identifiable decipherable meaning in many ways, such as (...) covert and overt deterritorialization of language, escape from “territorial” and “representational” language, defiance of signification, neutralization of sense, asyntactical language, phantasmagorical and absurd tales, quizzical jokes, silly songs, and asubjective free indirect narration. Against the Day’s practice of language prefers the territory of asubjective insignification to subjective, symbolic, and signifying usage of language so as to dismantle the territory of representation; thus, it pushes the major language towards or even out of its limits. (shrink)

This book, one of the most recent in Cambridge University Press's large and growing companion series, provides a well-rounded overview of American pragmatism's beginnings, its "revival" in the mid to late twentieth century, and some of the ways in which it might be "put to work" in addressing questions about aesthetics, politics, religion, law, and education. -/- The volume begins with an introduction by editor Alan Malachowski, which helpfully sets out American pragmatism's "orientation," a few of its guiding themes, along (...) with a summary of several issues on which pragmatists have tended to diverge. One of these has to do with narrating the recent history of pragmatism itself. On the so-called "dominant" or "eclipse" story, pragmatism was "eclipsed by analytic philosophy" and "became a historical curiosity, residing as a dim relic in the museum of ideas." (3) While Malachowski wants his volume to offer "a relatively neutral overview of pragmatism" (xiii), and thus tries to avoid "taking a stand on issues concerning the respective merits of different forms of pragmatism" (xiv), he nonetheless agrees with other pragmatist commentators like Cheryl Misak and Robert Talisse in thinking that the "dominant narrative is badly mistaken." (9) When "the development of analytic philosophy . . . is examined more carefully," Malachowski writes, "it . . . becomes clear that rather than remaining dormant, or being discarded, in the face of that development, pragmatist ideas exerted a good deal of influence.". (shrink)

The article aims to provide a point of view for understanding the conceptual genesis of ‘post-history’, the key idea of Danto’s theory of contemporary art. To do this, reference is made to an essay from Beyond the Brillo Box which analyzes the various forms the past has assumed in the Western tradition, from the point of view of the influence exerted from narrative structures on artists and their practices. Danto’s argument will be clarified through the notion of ‘regime of historicity’ (...) (Hartog). Based on this, the article discusses three different paradigms of the historicity of art: each is the expression of a specific experienced mediation between the temporal dimensions of the past, present and future. First of all: the relationship of imitative recovery of the past, corresponding to the pre-modern scheme of history understood as exemplary and repeatable. Later, the article focuses the link of transformation/negation of the artistic past, both corresponding to the modern, linear and vectoral view of history. Finally, it will emerge the spatialized exploration of the past, that is, a neutral relationship with it no longer marked by the principle of authority: Danto’s post-history points out a situation in which the historical past of art is an available repertory of styles to be used. (shrink)

The task to write a short history of German philosophy is daunting. Hösle approaches this task with erudition, precision and admirable polemical style. Readers should note that Hösle’s account is not meant to be a neutral encyclopaedic one which narrates the entire history of philosophical ideas in the German-speaking world. While his selection and evaluation of certain figures might appear questionable, it would be unfair if one judges it with an expectation of encyclopaedic comprehensiveness. Indeed, it is a specific account (...) representing the German Spirit in a specific way. He gives four criteria for his selection of German philosophers: 1. quality of the philosophical work, 2. influence on subsequent developments in the history of philosophy, 3. whether the work paradigmatically expresses the basic ideas of the time and of German culture and 4. whether the philosopher helps us make sense of the developmental logic of the process of development. Along with the use of the German language, these make up the formal necessary requirements of Hösle’s historiography of German philosophy. On this basis of selection, he identifies a set of material features that characterize the German Spirit, and they are: 1. rationalist theology; 2. a commitment to synthetic a priori knowledge (trust that God created the world in a rational way); 3. a penchant for system-building; 4. grounding ethics in reason not in sentiment and 5. a combination of philosophy and philology. This review consists of two main parts. I will first sum up the line of ideological development given by Hösle, and then I will critique Hösle’s account of the withering of German philosophy and its Spirit. (shrink)

s admirable new book, Justice, Luck, and Knowledge , brings together recent developments in the fields of responsibility and egalitarian justice. This article focuses on Hurley’s critique of luck-neutralizing egalitarianism. The article concludes that the bad-luck-neutralizing aim serves better as a justificatory basis for egalitarianism than the more general luck-neutralizing aim. Since the former does not simply assume that we should aim for equality, Hurley has not demonstrated (nor indeed does she claim to have shown) that this (...) concern cannot form the justificatory basis of egalitarianism in a non-question-begging way. This, however, does not detract from the fact that Hurley’s book provides a very insightful discussion of the relationship between luck and justice. Key Words: Hurley • Dworkin • Cohen • luck • justice • egalitarianism. (shrink)

The interplay between the virus, infected cells and immune responses to SARS-CoV-2 is still under debate. By extending the basic model of viral dynamics, we propose here a formal approach to describe neutralisation versus weak (or non-)neutralisation scenarios and compare them with the possible effects of antibody-dependent enhancement (ADE). The theoretical model is consistent with the data available in the literature; we show that both weakly neutralising antibodies and ADE can result in final viral clearance or disease progression, but that (...) the immunodynamics are different in each case. As a significant proportion of the world’s population is already naturally immune or vaccinated, we also discuss the implications for secondary infections after vaccination or in the presence of immune system dysfunctions. (shrink)

Novels like Fight Club or American Psycho are said to be instances of unreliable narration: the first person narrator presents an evidently distorted picture of the fictional world. The film adaptations of these novels are likewise said to involve unreliable narration. I resist this extension of the term ‘unreliable narration’ to film. My argument for this rests on the observation that unreliable narration requires a personal narrator while film typically involves an impersonal narrator. The kind of (...) ambiguous story-telling that we find in literary fiction with unreliable narrators, where for certain descriptions it is unclear whether what we’re told is an accurate account of what’s happening in the story world or not, can instead be achieved by conventionalized filmmaking techniques for reporting the contents of mental states, like the point of view shot, but especially the more ambiguous blended perspective shot. (shrink)

This review essay introduces Brian Treanor’s Melancholic Joy in dialogue with themes in Nietzsche’s thought. The book invites this comparison in its penultimate section, which distinguishes briefly its own account from the tenets of Dionysiac pessimism. Finding that section fertile, but tantalizingly short, I parse in greater detail relevant points of convergence and divergence. The first section, “After Nietzsche,” follows Nietzsche’s development out of the first naïveté of ascetic idealism and into the wanderer’s night of biting suspicion. It likens Nietzsche’s (...) leonine eschewal of metaphysics and morals to Treanor’s sober engagement with the fruits of the physics and philosophy that have ripened in between. The second section, “Second Innocence,” contrasts Nietzsche’s vision of childlike innocence after nihilism, a renaissance beyond good and evil, with Treanor’s vital response to an updated nihilism: a love of world that refuses to deny the many realities of evil, and that responds by embracing the many mundane realities of joy. (shrink)

The theoretical debate on the nature of narrative has been mainly concerned with literary narratives, whereas forms of non-literary and especially pictorial narrativity have been somewhat neglected. In this paper, however, I shall discuss narrativity specifically with regard to pictorial objects in order to clarify how pictorial storytelling may be based on the activation of mentally stored action and scene schemas. Approaches from cognitive psychology, such as the work of Schank, Roger C. & Robert P. Abelson. 1977. Scripts, plans, goals (...) and understanding. Hillsdale, NJ: Lawrence Erlbaum; Mandler, Jean Matter. 1984. Stories, scripts, and scenes: Aspects of schema theory. London/hillsdale, NJ: Lawrence Erlbaum; Schank, Roger C. 1995. Tell me a story: Narrative and intelligence. Evanston, IL: Northwestern University Press, suggest that cognition crucially depends on the storage and retrieval of action scripts or schemata, that is, narrative structures, which may occur at various levels of abstraction. These schemas incorporate generalized knowledge about event sequences, such as the order in which specific events will take place; causal, enabling, or conventionalized relations between these events, and what kind of events occur in certain action sequences. There also are scene schemas that are characterized by spatial rather than temporal relations. Further kinds of schemas seem also to play a decisive role. Drawing upon considerations from schema and script theory, I will focus on some concrete examples of pictorial narration, more specifically depictions of the Annunciation of the Virgin Mary, where narrative schema structures become involved and, indeed, the comprehensibility of the pictures as such presuppose mental script representations. (shrink)

In any focus on an aesthetic experience one may find both sensational and cognitive qualities, referred to as the scene and scenario respectively. Hence, an experiencer tries to decipher the scenario —a narration—by sensing the scene —space—through the spatial atmosphere. Thus, space starts to transform into a poetic experience. Japanese architecture, on account of a number of inherent qualities, has the capability to convey such narrations in spaces. In Japanese examples, an experiencer tries to derive the narration that (...) emanates from explicit qualities—sensational, such as textual, visual, audial, or tactile phenomena—with his/her implicit qualities—cognitive/intellectual abilities. The article examines the layer of narration of Japanese architectural structure through haiku 俳句 and haiga 俳画 examples, in doing so, utilizes the layers proposed on behalf of the explicit and implicit qualities: nature-based and feeling-based. (shrink)

ABSTRACT In this comment, I argue that transformative experiences such as experiences of grief often imply a break in one's coherent, non-fictional and biographical narratives and practical identities. The nature of these breaks is of a certain kind, as they interrupt even the process of narration. To insist that the process of narration as well as the narratives themselves belong to one and the same process of adjustment in transformative experiences such as grief might overlook the importance of (...) such breaks, namely that the contain a moment of refusal and revolting against mourning. The tension involved in such breaks might not allow to be circumscribed into narratives nor do they fit into the process of narration as a destabilizing moment; the breaks insist on the incomprehensibility of each loss and they remain part of what it means to survive and to undergo transformative experiences. (shrink)

C’est un acquis de la philosophie de Ricœur : il y a entre l’identité narrative, par laquelle le soi se donne à lui-même une consistance dans le temps, et la question éthico-morale1, dévoilant un soi responsable face à autrui, des liens avérés. Dès Temps et récit, les limites de la notion d’identité narrative coïncident ainsi avec...

This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article (...) sees panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics. (shrink)

A typical device in film is to have a character narrating what is going on, but this narration is not always a reliable guide to the events. According to Maier, distortions may be caused by the narrator’s intent, naivety, use of drugs, and/or cognitive disorder/illness. What is common to these various causes, he argues, is the presence of a point of view, which appears in a movie as shots. While this perspective-based account of unreliability covers most cases, I unpack (...) its methodological consequences and gesture at a possibility that Maier’s analysis overlooks. A narration, I suggest, can be unreliable simply because it is ill-timed with the events shown on screen. In such a case, the distortion is not due to any character’s point of view; rather, it comes from the film medium’s ability to divorce what is seen and what is heard. As a consequence of this mismatch, it is possible to have a reliable narrator but an unreliable narration. Since voice and context of utterance usually match in ordinary speech, I conclude that philosophy of language may be ill-suited to properly understand this particular phenomenon. (shrink)

Inspired by the idea of documentation as a valuable tool for making learning visible, pedagogical narration offers an opportunity to move beyond checklists and quick answers to a more complex understanding of how children learn, and how teachers might facilitate and support that learning in innovative ways. The authors use stories they collected during a collaborative study to offer a range of possibilities for alternative childhood pedagogies. Cutting edge, yet practical; detailed in its analysis, yet inspiring, this book is (...) a boon to the field of early childhood and primary education studies. (shrink)

Recent analytic-philosophical works in the field of situated cognition have proposed to conceptualize the self as deeply entwined with the environment, and even as constituted by it. A common move has been to characterize the self in narrative terms, and then to argue that the narrative self is partly constituted by narratives about the past that are scaffolded (shaped and maintained) by, or distributed over, a variety of objects that can rekindle episodic memories. While we are sympathetic to these approaches, (...) here we propose a different strategy to situate the self—one which can be seen as complementing the narrative one, and which draws from concepts and ideas central to the phenomenological-existentialist tradition. We suggest, first, that the self has a sense of its past not just via narratives and episodic memories, but in virtue of being embodied and thus, importantly, _sedimented_ (in other words, it has, or rather is, a _body memory_). Embodiment and sedimentation, in turn, always necessarily imply an environment or a situation, entailing that the self is also _inherently situated_. Second, we discuss the future-oriented dimension of selfhood, and argue that we understand ourselves as _projected_ into the future, again not necessarily only narratively and reflectively, but also tacitly, in a bodily and inherently situated way. (shrink)