Accounts of the religious debates sparked by the theory of evolution tend, almost inevitably, to focus on the late nineteenth century. Darwinism is treated as a symbol of the scientific naturalism that so traumatized Victorian thought. Modern accounts have shown, however, that religious thinkers were in the end able to take on board an evolutionism purged of its most materialistic tendencies. We tend to assume that in Britain, at least, the arguments had largely died down by the end of the (...) nineteenth century. Led by Aubrey Moore, the Anglican Church made its accommodation, and Moore's contribution of an essay to the volume Lux mundi, edited by Charles Gore in 1889, symbolized the ability of even the conservative Anglo-Catholic wing of the Church to move in the direction of modernization. In America, of course, the compromise broke down with the rise of Fundamentalism in the early twentieth century, but most British commentators saw the ‘Scopes trial’ of 1925 as a strange transatlantic phenomenon that was unlikely to have a parallel in their own country. (shrink)

In a 1988 conference, American and British scholars unexpectedly discovered that their ideas were converging in ways that formed a new picture of the variegated Hellenistic mosaic. That picture emerges in these essays and eloquently displays the breadth of modern interest in the Hellenistic Age. A distrust of all ideologies has altered old views of ancient political structures, and feminism has also changed earlier assessments. The current emphasis on multiculturalism has consciously deemphasized the Western, Greco-Roman tradition, and Nubians, Bactrians, and (...) other subject peoples of the time are receiving attention in their own right, not just as recipients of Greco-Roman culture. History, like Herakleitos' river, never stands still. These essays share a collective sense of discovery and a sparking of new ideas—they are a welcome beginning to the reexploration of a fascinatingly complex age. (shrink)

This article argues that Thomas More's creative appropriation in Utopia (1516) of the New World narrative enabled him to sketch out a cosmopolitan civil science for the purpose of sparking sentiments for a new ethics. Placing More's classic in a wider and more detailed context the article shows that the book's protagonists' anthropological approach to civil scientific study in turn has three important characteristics, all of which set it apart from conventional social knowledge: it is (1) empirical or experiential, (2) (...) comparative and (3) cosmopolitan. The article thus offers a new interpretation of the relationship between Utopia and the New World as one that stresses the value of social experimentation, an aspect that is elaborated by emphasizing the theme of social knowledge both in the many vernacular European editions of the work as well as in the account of Utopian social life. (shrink)

Public theology is conceived in the church, reflected on critically in the academy and addressed to the world for the sake of the world. The development of a theology of nature is included in the public theologian’s list of tasks of nature that is scripturally based and heavily informed by the natural sciences. Astrotheology is one product. Astrotheology engages astrobiology and other space sciences, firstly, by critically exposing the extraterrestrial intelligence myth at the heart of science and secondly, by partnering (...) in thinking through public policy proposals with astroethicists.Contribution: The HTS collection on ‘Theology and Nature’ sparks theological discussion both within and beyond the church. By developing the fields of astrotheology and astroethics, this article contributes to a ‘Theology of Nature’ as an exercise in Public Theology. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

The most comprehensive compilation of the works of Abelard and Heloise ever presented in a single volume in English, _The Letters and Other Writings_ features an accurate and stylistically faithful new translation of both _The Calamities of Peter Abelard_ and the remarkable letters it sparked between the ill-fated twelfth-century philosopher and his brilliant former student and lover—an exchange whose intellectual passion, formal virtuosity, and psychological drama distinguish it as one of the most extraordinary correspondences in European history. Thanks to (...) this edition, Latin-less readers will be better placed than ever to see why this undisputed milestone in the intellectual life of medieval France is also a masterpiece of Western literature. In addition to the _The Calamities_ and the letters--the first complete English translation of all seven in more than eighty years--this volume includes an Introduction, a map, and a chronology, Abelard's _Confession of Faith_, letters between Heloise and Peter the Venerable, the Introduction to _The Questions of Heloise_, and selected songs and poems by Abelard, among them a previously untranslated shaped poem, Open Wide Your Eyes. Extracts of lost letters sometimes ascribed to Abelard and Heloise are given in appendixes. (shrink)

An effect is typically explained by citing a cause, but not any cause will do. The oxygen and the spark were both causes of the fire, but normally only the spark explains it. What then distinguishes explanatory from unexplanatory causes? One might attempt to characterise this distinction in terms of intrinsic features of the causes. For example, some causes are changes while others are standing conditions, and one might claim that only the changes explain. Both the spark and the oxygen (...) are causes of the fire, but only the spark is a change, and perhaps this is the reason only the spark explains. On the other hand, one might attempt to characterise the distinction between explanatory and unexplanatory causes in terms of the relation between cause and effect. For example, only some causes are sufficient for their effects, and perhaps only sufficient causes explain. There is, however, an elementary feature of the distinction between explanatory and unexplanatory causes that neither an intrinsic nor a relational approach are well-suited to capture. This is the so-called `interest-relativity' of explanation: the very same cause may be explanatory for one person but not for another. When there is a famine in India, an Indian peasant may explain this by citing the drought, while a member of the World Health Organization may instead cite the failure of the Indian government to stock adequate reserves of food (Hart and Honore, 1985, pp. (shrink)

While almost all of Kant's contemporaries agreed that the Critique of Pure Reason effected a philosophically epochal change, there was far less consensus about what precisely Kant's new critical philosophy had brought about. In large part, this uncertainty was a result of a methodological crisis that Kant's work had sparked: the Critique had shown that traditional dogmatic metaphysics was suspect at best, but what new methods needed to be adopted in the wake of Kant's 'Copernican Revolution'? The Critique stood as (...) the lighting rod at the center of a complicated and especially lively set of debates and disputes that erupted in Germany in the late 1780s and early 1790s: empiricists and rationalists, threatened by the 'all-destroying Kant', leapt to challenge the new critical system; skeptics attacked Kant's claims to have secured a sure footing for empirical knowledge; a few ambitious thinkers sought to complete the critical system by revealing a foundational first principle on which Kant's system could rest. All of these elements conspired to make the early stages in post-Kantian thought one of the richest, most vibrant – and most fascinating – periods in the history of philosophy. The present essay looks at the various figures of the move from Kant to Fichte, and presents some of the excellent new research on the era that has appeared in the last decade or so. The sequel takes up the period from Fichte to Hegel, with an eye toward understanding how Kantian critical philosophy gave way to Hegelian Absolute Idealism. (shrink)

Production of oocytes from pluripotent cell cultures in a dish represents a new paradigm in stem cell and developmental biology and has implications for how we think about life. The spark of life for the next generation occurs at fertilization when sperm and oocyte fuse. In animals, gametes are the only cells that transmit their genomes to the next generation. Oocytes contain in addition a large cytoplasm with factors that direct embryonic development. Reconstitution of mouse oocyte and embryonic development in (...) culture provides experimental opportunities and facilitates an unprecedented understanding of molecular mechanisms. However, the application of in vitro gametogenesis to reproductive medicine or infertility treatment remains challenging. One significant concern is the quality of in vitro‐derived oocytes. Here, we review the current understanding and identify limitations in generating oocytes in vitro. From this basis, we explore opportunities for future improvements of the in vitro approach to generating high‐quality oocytes. (shrink)

Almost five decades after his death, there is still ample reason to pay attention to the life and legacy of Bertrand Russell. This is true not only because of his role as one of the founders of analytic philosophy, but also because of his important place in twentieth-century history as an educator, public intellectual, critic of organized religion, humanist, and peace activist. The papers in this anthology explore Russell’s life and legacy from a wide variety of perspectives. This is altogether (...) fitting, given the many-sided nature of Russell, his life, and his work. The first section of the book considers Russell the man, and draws lessons from Russell’s complicated personal life. The second examines Russell the philosopher, and the philosophical world within which his work was embedded. The third scrutinizes Russell the atheist and critic of organized religion, inquiring which parts of his critical stance are worth emulating today. The final section revisits Russell the political activist; it directs an eye both at Russell’s own long career of peace activism, but also at his place in a highly political family tradition of which he was justifiably proud. This book thus constitutes an invitation, if one were needed, to the world of Bertrand Russell. Those new to Russell, but with an interest in biography, philosophy, religion, or politics, will hopefully find something to learn here. This may spark an interest in learning more about Russell. But this book is not just intended for the Russell neophyte. The book sheds fresh light on a number of topics central to Russell studies—his connections to other philosophers, for example. Scholars well-versed in Russell studies will enjoy grappling with the treatment given to these topics here. (shrink)

Jacob Sparks critiques our recent work on commodification by arguing that purchasing love indicates one has defective preferences. We argue A) it is possible to purchase these things without having defective preferences, B) Sparks has not shown that acting such defective preferences is morally wrong, C) that Sparks’ misunderstands the Brennan–Jaworski Thesis, and so has not produced a counterexample to it, and finally D) that when we examine the processes by which love is gifted, it is unclear whether these processes (...) should be preferred. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Virtues of Animals in Seventeenth-Century ThoughtPeter HarrisonDiscussions about animals—their purpose, their minds or souls, their interior operations, our duties towards them—have always played a role in human self-understanding. At no time, however, except perhaps our own, have such concerns sparked the magnitude of debate which took place during the course of the seventeenth century. The agenda had been set in the late 1500s by Montaigne, who had made (...) the remarkable (if somewhat rhetorical) claim that animals were both moral and rational, and moreover, more moral and rational than humans. In the century which followed, Descartes, not to be outdone, put forward the even more contentious counter-proposal that animals were not only neither rational nor moral, but that they were not even conscious. The Cartesian hypothesis fueled a debate which continued until well into the eighteenth century. 1 While in recent years much attention has been given to issues of animal consciousness and cognition in seventeenth-century thought, the related question of the moral capabilities of animals has been by comparison neglected. In this paper I shall explore the converse side of the better known arguments about the rational capabilities of the beasts, focusing on seventeenth-century discussions concerning the behaviors and passions of the beasts and the extent to which animals were thought to participate in the moral universe of human beings.I. During the first sixteen hundred years of the common era, those thinkers who directed their attention to the natural world had tended to be preoccupied neither with questions of how animals came into being nor with the direct [End Page 463] causes of their various operations but rather with the question of why they existed at all. Almost without exception responses to this question were variations on a single theme: animals had been placed in the world to provide for the physical needs of human beings. 2 While this response proved to be satisfactory in general terms, there were acknowledged deficiencies. Many living things seemed to have been rather extravagantly designed for their putative purpose. Others seemed blatantly to contradict it. Why were our meat supplies, for example, not more conveniently presented, like the fabled Scythian lamb which grew on a tree? Why was it that a significant number of creatures appeared to be useless or even downright harmful to those whom they were designed to serve? And why, finally, were human beings created such that they were dependent upon lesser creatures for their survival?Responses to these difficulties generally took one of three forms, each of which was influential throughout the Middle Ages and beyond. First, it could be asserted that as a result of the Fall, human beings had forfeited their dominion over the creatures, many of which now served as instruments for their punishment and correction. Augustine observed that “there are many things, such as fire, frost, wild beasts and so forth, which do not suit but injure this thin-blooded and frail mortality of our flesh, which is at present under just punishment.” 3 In the seventeenth century this view still attracted many supporters. Thus Godfrey Goodman, in The Fall of Man (1616), wrote that “all the creatures, forsaking their first and naturall use, did serve for mans punishment, and rebelled against him.” 4Second, an appeal could be made to the Platonic principle of plenitude and the related idea of the chain of being. The principle of plenitude taught that more is better and that variety is preferable to uniformity. God, wrote the third-century Christian apologist Lactantius, “wished to display His providence and power by a wonderful variety of many things.” 5 It followed that all existing things could be ranged in a vast scale from non-existence to God himself, with each link in the chain separated from its neighbor by a small difference. Again, this view found many adherents in the early modern period. Thomas Robinson declared that “it was necessary that there shou’d be a variety of Natures, and [End Page 464] different Degrees of Life and Perfection.” Thus “every Creature even of the lowest Degree of Life, is Good and Perfect in its Kind.” 6 Important for our... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Spirituality":"Weasel-Word" or Gateway to New Understanding?Peter Gilbert (bio)Keywordsspirituality, faith communities, NIMHEVisiting the Samuel Palmer Exhibition at the British Museum, I was struck, not only by the spiritual power of the paintings, especially in the late Shoreham period such as, my favorite: The Magic Apple Tree (circa 1830)—but how Palmer appeared to bring both Christian and Pantheistic themes into his work. The museum's exhibition collator remarks that Palmer saw (...) the fruitfulness of the earth as an intimation of Divine creativity. The artist sought to capture "The essential vivifying spirit, vital spark" (Palmer's words) of the physical world in which we live.I was reminded as I moved from The Magic Apple Tree, to In a Shoreham Garden, and The Golden Valley, how these paintings had been used by a record company when they had issued all of Ralph Vaughan Williams' orchestral and choral works in the 1970s, to mark his anniversary. Vaughan Williams was not a signed up Christian, but many of his choral works express a strong yearning for the transcendent using Christian imagery. The day before I visited the Palmer exhibition, I listened to Professor Robert Winston on Start the Week (28th November, 2005), in which he spoke of his BBC series The Story of God (Winston, 2005). As a scientist, Winston is intrigued as to why humans seek the transcendent. He continually refers to this desired other as "God," although I think it would be more accurate to call it a search for the transcendent. Winston puzzles over why there appears to be "a God-shaped hole" within humanity (Start the Week, November, 28, 2005), and again, as a scientist, postulates that: "the more we understand about science, the less we understand about the Universe."In the light of the most popular films and books at present, the search for something beyond ourselves appears to be very much at the center, rather than at the periphery of humanity's consciousness at the present time. Reading Philip Pullman's His Dark Materials trilogy, and reading his various essays, we are struck by his articulation of the human search:We need a story, a myth that does what the traditional religious stories did. It must explain. It must satisfy our hunger for a Why... There are two kinds of Why, and our story must deal with both. There's the one that asks What brought us here? and the other that asks What are we here for?(Pullman, 2001)The author's article is very helpful in its practical approach to psychotherapy and spirituality. I particularly liked her reference to the work of Charles Corr (1991) and his work with people [End Page 197] who are dying and considering the physical, psychological, social, and spiritual aspects of the last days. The spiritual aspects being around identifying, developing, or reaffirming spiritual sources of energy and hope. This is the kind of approach that the National Institute for Mental Health in England (NIMHE) national Project on Spirituality and Mental Health has been engaged in since 2001, the approach being to stress the spiritual dimension as an integral part of a whole person and whole systems approach to mental health; work with mental health services and their partners to engage with this agenda; and work toward a better understanding between faith communities and mental health services (see Gilbert and Nicholls, 2003). Service users and their carers are increasingly stating strongly to services that they wish to have their spiritual dimension and spiritual needs addressed properly—and certainly not in a "tick-box" method! The author quotes Samson and Zerter (2003) as saying that the person's spiritual dimension "draws a thread of identity, relationship, meaning and purpose, which weave through each of these aspects" (i.e. the life events and other aspects of their being).I welcome the author's stress on a "relational approach," and her breadth of reference, for example, the diary of Marcus Aurelius, the Roman emperor and philosopher, but I had some concerns about her use of the term personal theology, and talk of the personal aspect of religion and "the Divine," in that I think that this could... (shrink)

In recent years, the opioid crisis in the United States has sparked significant discussion on doctor–patient interactions concerning chronic pain treatments, but little to no attention has been given to investigating the vocal aspects of patient talk. This exploratory sociolinguistic study intends to fill this knowledge gap by employing prosodic discourse analysis to examine context-specific linguistic features used by the interlocutors of two distinct medical interactions. We found that patients employed both low pitch and creak as linguistic resources when describing (...) chronic pain, narrating symptoms and requesting opioids. The situational use of both features informs us about the linguistic ways in which patients frame fraught issues like chronic pain in light of the current opioid crisis. This study expands the breadth of phonetic analysis within the domain of discourse analysis, serving to illuminate discussions surrounding the illocutionary role of the lower vocal tract in expressing emotions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 2007 Meeting of the Society for Buddhist-Christian StudiesSan Diego, California, November 16–17, 2007Peter A. HuffThe Society for Buddhist-Christian Studies sponsored two sessions in conjunction with the 2007 annual meeting of the American Academy of Religion (AAR). Each session highlighted themes related to the work of a major figure in Buddhist-Christian dialogue. The first session, addressing the topic “Homosexuality, the Church, and the Sangha,” was organized in honor of (...) Roger Corless (1938–2007), longtime member of the society, dual practitioner of Roman Catholicism and Vajrayana Buddhism, and a well-known voice for “queer sangha.” The second session, a panel discussion titled “The Thought and Legacy of Masao Abe,” focused on the career achievements of Abe (1915–2006), widely acknowledged as one of the most innovative and influential scholars in modern Zen studies, interreligious dialogue, and comparative philosophy.The first session, moderated by Harry Wells (Humboldt State University), featured three papers on issues of gender, sexual ethics, and religious identity. Robert Fastiggi, professor of systematic theology at Sacred Heart Major Seminary (Detroit), presented the paper “The Catholic Church and Homosexuality.” Arguing that the Catholic tradition avoids an “either/or” approach to homosexuality, he outlined the church’s official distinction between morally neutral homoerotic identity and what Vatican documents call “intrinsically disordered” homosexual acts. He also noted that Catholic researchers differ significantly on the question of the genetic origins of same-sex attraction. The key to Catholic moral teaching on homosexuality, he explained, is a “theology of the body” that envisions male-female complementarity as the divinely ordained pattern of creation. Fastiggi suggested that further discussion of related ideas such as celibacy, chastity, desire, and concupiscence would enhance future Buddhist-Christian dialogue on homosexuality.Ilene Stanford, a ThD candidate in religion, gender, and culture at Harvard University, presented the next paper, “In or Out? Marriage as a Social Practice.” Describing marriage in the United States as a “site of contestation,” she explored the conflicting [End Page 137] models of sexual union that currently inform public debates in political and ecclesiastical contexts. Using William Johnson’s A Time to Embrace: Same-Gender Relationships in Religion, Law, and Politics (2006) as a point of departure, she argued that many contemporary examinations of sexual relationships, even some of the most inclusive, fail to reckon with the way in which the West’s Augustinian legacy continues to make heterosexual marriage the norm for all moral reflection on sexual identity and expression. The escalating controversy in the international Anglican community, she said, exposes the weaknesses of Johnson’s “deliberative democracy” model and other theoretical models that minimize the role of political and social power in the construction of sexual ideals.José Ignacio Cabezón, who holds the XIV Dalai Lama Chair in Tibetan Buddhism at the University of California, Santa Barbara, presented the final paper: “Is Homosexual Sex ‘Sexual Misconduct’? Critical Reflections on Some Classical Indo-Tibetan Sources.” Analyzing the changing portraits of sexual immorality in the Pali canon, Indian Sanskrit texts, and Tibetan scholastic treatises, Cabezón traced the evolution of monastic commentary on lay sexuality over the course of several centuries. What originated primarily as a simple prohibition against some forms of male adulterous activity, he explained, eventually became an unprecedented attempt to regulate intricate details of sexual behavior. Identifying Ansanga (fourth century ce) as the first Buddhist writer to proscribe same-sex activity between men, Cabezón suggested that changing social mores, intra-Buddhist debates, and the fertile monastic imagination contributed to the gradual elaboration of moral teaching in ancient and classical Buddhist literature.After the paper presentations, Richard Reilly, professor of philosophy at St. Bonaventure University, responded with provocative comments. He raised critical points about the significance of the distinction between sexual acts and erotic relationships, the strategic though limited value of “deliberative democracy” in multicultural faith communities, and the need for more rigorous comparative study of homophobic legislation in Buddhist and Abrahamic religious traditions. Sparking an engaging discussion among presenters and members of the audience, Reilly’s remarks underscored the importance of ongoing interdisciplinary investigations into homosexuality, the church, and the sangha.The society’s second session at the AAR provided a venue for former... (shrink)

The phrase, "state of nature", has been used over centuries to describe the uncultivated state of lands and animals, nudity, innocence, heaven and hell, interstate relations, and the locus of pre- and supra-political rights, such as the right to resistance, to property, to create and leave polities, and the freedom of religion, speech, and opinion, which may be reactivated or reprioritised when the polity and its laws fail. Combining intellectual history with current concerns, this volume brings together fourteen essays on (...) the past, present and possible future applications of the legal fiction known as the state of nature. Contributors are: Daniel S. Allemann, Pamela Edwards, Ioannis D. Evrigenis, Mary C. Fuller, David Singh Grewal, Francesca Iurlaro, Edward J. Kolla, László Kontler, Grant S. McCall, Tom Sparks, Benjamin Straumann, Karl Widerquist, Sarah Winter, and Simone Zurbuchen. (shrink)

Ludwig Wittgenstein suggests that ?A serious and good philosophical work could be written consisting entirely of jokes?. The idea for this dialogue comes from a conversation that Michael Peters and Morwenna Griffiths had at the Philosophy of Education of Great Britain annual meeting at the University of Oxford, 2011. It was sparked by an account of an assessment of a piece of work where one of the external examiners unexpectedly exclaimed ?I knew Jean-Paul Sartre?, trying to trump the discussion. This (...) conversation is a dialogue about comedy and humor as a basis for philosophy, education and pedagogy that provides an introduction to recent works and a context for ongoing research. The concluding section provides further reflection on some of the main themes, drawing attention to the significance of humor in dialogues within philosophy and education, and suggesting that it has a particular role in resisting managerialism at all levels of educational institutions. (shrink)

Sparked by global capitalism’s demand for new knowledge and new commodities, as well as new logistical systems to deliver them, the nature of education has changed significantly. Universities, in striving to become a part of this knowledge society, have focused on responding to these demands, at the expense of the humanities and social sciences. The dominance of this way of thinking, primarily a product of Western educational thought, has clearly affected approaches to education in the East. The originalities, authenticities, and (...) unique perspectives of the East have failed to get enough attention, subsumed by the focus on science and technology. However many education systems are still endeavouring to capture some of the indigenous and authentic culture of their home countries, incorporating national cultural ideals, even in subjects with a primarily vocational focus. Although the drive for scientific knowledge has led to a degree of standardisation and convergence, cultural differences still play a role in the education theory and policy of different countries. This book examines these cultural differences between different East Asian and South Asian countries, with chapters ranging from historical educational analysis to contemporary re-interpretations of the construction of society and education in the East. This book was originally published as a special issue of _Comparative Education. _. (shrink)

The world of work over the past 3 years has been characterized by a great reset due to the COVID-19 pandemic, giving an even more central role to scholarly discussions of ethics and the future of work. Such discussions have the potential to inform whether, when, and which work is viewed and experienced as meaningful. Yet, thus far, debates concerning ethics, meaningful work, and the future of work have largely pursued separate trajectories. Not only is bridging these research spheres important (...) for the advancement of meaningful work as a field of study but doing so can potentially inform the organizations and societies of the future. In proposing this Special Issue, we were inspired to address these intersections, and we are grateful to have this platform for advancing an integrative conversation, together with the authors of the seven selected scholarly contributions. Each article in this issue takes a unique approach to addressing these topics, with some emphasizing ethics while others focus on the future aspects of meaningful work. Taken together, the papers indicate future research directions with regard to: (a) the meaning of meaningful work, (b) the future of meaningful work, and (c) how we can study the ethics of meaningful work in the future. We hope these insights will spark further relevant scholarly and practitioner conversations. (shrink)

The article gives an account of the prelude to an extensive ethical debate in Germany which was sparked off by an invitation to the Australian philosopher Peter Singer to speak at the University of Dortmund. He was to lecture about the right to life of severely handicapped new-born babies. But among special educators this theme provoked violent protests throughout the country; organisations of the disabled and various other groups forced the cancellation of the lecture and discussion with Peter (...) Singer. The kind of dispute which follows in special education is not to be judged without consideration of the methodological background of this young discipline. The events around the ‘Singer affair’ have shown severe methodological deficits, which may or rather must be cured in future. (shrink)

The death of Peter Winch in 1997 sparked a revived interest in his work with this book arguing his work suffered misrepresentation in both recent literature and in contemporary critiques of his writing. Debates in philosophy and sociology about foundational questions of social ontology and methodology often claim to have adequately incorporated and moved beyond Winch's concerns. Re-establishing a Winchian voice, the authors examine how such contentions involve a failure to understand central themes in Winch's writings and that the (...) issues which occupied him in his Idea of a Social Science and its Relation to Philosophy and later papers remain central to social studies. The volume offers a careful reading of the text in alliance with Wittgensteinian insights and alongside a focus on the nature and results of social thought and inquiry. It draws parallels with other movements in the social studies, notably ethnomethodology, to demonstrate how Winch's central claim is both more significant and more difficult to transcend than sociologists and philosophers have hitherto imagined. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 861 acter as to demand and thus warrant the sort of special explanation proposed by the theist. Along the way, we are treated to illuminating discussions of many fascinating and controversial issues, such as the need for a priori probability assignments in science and metaphysics. Chapter six offers a novel defense of Pascal's Wager arising out of the Anselmian concept of God endorsed at the beginning of (...) the hook. Thus a bond is forged between one of the most purely theoretical and one of the most pragmatic ideas in the history of philosophical reflection on religious belief. Schlesinger's defenses of the Wager against numer· ous criticisms are, characteristically, original, engaging, and philosoph· ically stimulating. The final chapter of this hook grapples with the issue of whether a world such as ours, in which individuals seem to he far from equal in religious insight and ability to respond to the divine, can he com· patible with God's being perfectly fair and just. Drawing on some elementary aspects of epistemic logic, Schlesinger first seeks to under· mine the position of the agnostic who claims to he well-informed, well· disposed to fair judgment, and to he in a state of rationally refraining to endorse either theism or atheism. In the course of the argument, he attempts to show how merely understanding theism can increase one's inclination to endorse it, and he traces out various entailments of the traditional idea of God for the issue of how clear evidence of God's existence must he in this world to one who is truly well-disposed toward seeing it. All in all, this is a highly original, provocative hook which should he read and grappled with by all who work in the field of its concern, the philosophy of religion. It should spark debate and enhance the level of reflection about its chosen topics for years to come. It will surely not command agreement at every point, hut it will inevitably stimulate further thought. The University of Notre Dame Notre Dame, Indiana THOMAS v. MORRIS God in History: Shapes of Freedom. By PETER C. HODGSON. Nashville: Abingdon Press, 1989. Pp. 287. $21.95 {cloth). Is it still possible in our postmodern age to speak intelligibly about God's presence and action in human history? Peter Hodgson's discus· sion of this " most difficult of modern theological questions " leads us over the " labyrinthine abyss " of Derrida's deconstructionism, through the " cognitive purgatory " of the postmodern crisis, to the affirmation 36~ BOOK REVIEWS that " God and history are conjoined at the point of... free, liberating, emancipatory, transfigurative praxis..." (147, 162-3, 191). After explaining the inadequacy of the classical model of salvation history (Chapter I), Hodgson develops his approach to the problem around the three central ideas of God (Chapter II), history (Chapter III), and freedom (Chapter IV). A concluding epilogue brings together Hodgson's understanding of the presence of God in history and of the eschatological presence of history in God. Throughout the hook there is a dialogue with and a critique of various postmodern thinkers who question the very notions of God, history, and freedom (162). In postmodern thought, history is a series of mere human constructions-figments of human imagination which need to he "deconstructed." Descriptions of God's action in history dissolve into a "self-referential interplay of signs-an endless milieu of significations that refers to nothing other than itself" {37). In response to postmodernism, Hodgson follows neither the way of " absolutism " by seeking to return to " orthodox doctrine and confessional tradition " nor the way of relativism by pretending that nothing can he " known, believed, or acted upon." He rather points the way to " revision," to "retrieving and rethinking the deconstructed tradition" (29). The thought of G. W. F. Hegel and Ernst Troeltsch are his consistent tools in this work of revision, and the many years he has spent in preparing a critical edition and translation of Hegel's Lectures on the Philosophy of Religion provide him with an admirable expertise in using these tools (8, 147). The revision involves a reconstruction or sublation (Aufhebung) of the traditional understanding of God's presence in salvation... (shrink)

Peter Sloterdijk is one of the most challenging and contentious thinkers currently working within the European tradition. This is the first collection devoted to his work for English-language audiences and will act as an introduction to his work, set an agenda for engagement with his ideas, and relate his writings to a range of political, theoretical and practical contexts. -/- Since his philosophical bestseller Critique of Cynical Reason (1983), Sloterdijk has exercised an important influence over German and other European (...) thought and recently interest in his diverse oeuvre has grown considerably. The past few years have seen a number of his books translated into English, with many more to come. The book seeks to do justice to the breadth of Sloterdijk’s work throughout his career, orientated around the central topics of cynicism, ressentiment, the posthuman, space and world, art and literature, language, social science and his role as a public intellectual. Contributors include Babette Babich, Sjoerd van Tuinen, Eduardo Mendieta, Marie-Eve Morin, Efrain Kristol, Wieland Hoban, Nigel Thrift, Jean-Pierre Couture, and Sloterdijk himself. -/- An explicitly interdisciplinary project, Sloterdijk Now is a crucial introduction to the work of this central thinker, in its complexity, variety and notoriety. It is set to spark debate amongst students and scholars across the humanities and social sciences. (shrink)

A review of Peter Steele’s Plenty, a book in which each poem is faced by a colour plate of the painting or object which sparked it off. Hollander’s ecphrasis and Krieger’s ekphrasis are held in – possibly unresolvable – dialectic by Steele’s poems. The only resolution which one can find is one of wit rather than of philosophy.

Peter Singer’s 1971 essay “Famine, Affluence, and Morality” sparked a surge in interest among philosophers in the obligations of the global rich beneficently to assist the global poor. Richard Miller argues that Singer’s account is too demanding and proposes his Principle of Sympathy as an alternative to it. I first argue against Miller’s view and, in particular, his insistence that the value of pursuing worthwhile goals that are close to one’s heart significantly weakens one’s obligation to assist the least (...) well-off. Secondly, I critique Singer’s account and argue for a substantially revised version thereof. The Moderate Principle of Sacrifice that I defend includes four revisions to Singer’s account. These revisions allow it adequately to account for nonmoral value; the suffering of donor as well as recipient; serious need rather than just poverty; and the need for a long-term approach to global poverty relief. (shrink)

Though the vegetarian movement sparked by Peter Singer’s book Animal Liberation has achieved some success, there is more animal suffering caused today due to factory farming than there was when the book was originally written. In this paper, I argue that there may be a technological solution to the problem of animal suffering in intensive factory farming operations. In particular, I suggest that recent research indicates that we may be very close to, if not already at, the point where (...) we can genetically engineer factory-farmed livestock with a reduced or completely eliminated capacity to suffer. In as much as animal suffering is the principal concern that motivates the animal welfare movement, this development should be of central interest to its adherents. Moreover, I will argue that all people concerned with animal welfare should agree that we ought to replace the animals currently used in factory farming with animals whose ability to suffer is diminished if we are able to do so. (shrink)

For many years—and with some energy since Laudan’s “Confutation of Convergent Realism” —the scientific realist has sought to accommodate examples of false-yet-successful theories in the history of science. One of the most prominent strategies is to identify ‘success fueling’ components of false theories that themselves are at least approximately true. In this article I develop both sides of the debate, introducing new challenges from the history of science as well as suggesting adjustments to the divide et impera realist strategy. A (...) new ‘recipe’ for the prospective identification of working/idle posits is considered. (shrink)

In this book, Peter Achinstein proposes and defends several objective concepts of evidence. He then explores the question of whether a scientific method, such as that represented in the four "Rules for the Study of Natural Philosophy" that Isaac Newton invoked in proving his law of gravity, can be employed in demonstrating how the proposed definitions of evidence are to be applied to real scientific cases.

In 1961, an inventive Englishman, named Peter Mitchell, proposed a radically novel hypothesis to explain how energy is conserved during respiration and photosynthesis, and applied to the generation of ATP and other kinds of functional work. The chemiosmotic hypothesis sparked an intense controversy that lasted for 15 years. Today, Mitchell's conception of proton currents and their role in phosphorylation and active transport is generally accepted, and has ramified into many corners of cellular physiology. His most profound contribution may have (...) been to introduce spatial direction into biochemistry, and thereby transform our perception of the relationship between molecules and cells. BioEssays 23:848–855, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

Generalization of the standard behavior longitudinal genetic factor model for the analysis of interindividual phenotypic variation to a genetic state space model for the analysis of intraindividual variation enables the possibility to estimate subject-specific heritabilities.

We compare astronomers' removal of Pluto from the listing of planets and psychiatrists' removal of homosexuality from the listing of mental disorders. Although the political maneuverings that emerged in both controversies are less than scientifically ideal, we argue that competition for "scientific authority" among competing groups is a normal part of scientific progress. In both cases, a complicated relationship between abstract constructs and evidence made the classification problem thorny.

The late eleventh and twelfth centuries were Europe's first age of pamphlet warfare, of invective and satire. The perceived failure, or at least hypocrisy, of its new institutions-the new monastic orders and the reformed papacy-gave rise to the phenomenon, and it was shaped by the study of grammar and rhetoric in the new Schools. The central figures in the texts in the present book are Bernard of Clairvaux, the powerful ostensible founder of the Cistercian order, and the popular and influential (...) teacher Peter Abelard, leader of the radical faction in the Schools of Paris. The event which sparked this controversy was the Church council at Sens in 1141 which had led to the condemnation of Abelard's doctrines. Abelard proposed to use reason to explain the mysteries of faith, and this had led him into all kinds of difficulties with established church doctrine. The leading light in the atttack on his ideas was Bernard, the famous abbot of Clairvaux, a group of whose letters, written to gather support for it before and after the Council, are presented here. A little while later Abelard was defended by the vituperative but otherwise unknown Berengar, who wrote an outrageous Apology attacking Bernard; we also edit his remaining polemical works: his Letter to the Carthusians, and his Letter to the Bishop of Mende. None of Berengar's works has been translated before. An extensive introductory essay describes the course of the debate and the personnel, and analyses the invective employed by both Bernard and Berengar. There is full annotation identifying the writers' sources and clarifying the issues."-- Back cover. (shrink)

Even among critics not particularly concerned with detective fiction, Dashiell Hammett’s fourth novel, The Glass Key , is famous for carrying the so-called objective method to almost obsessive lengths: we are never told what the characters are thinking, only what they do and look like. Anyone’s decisions about anyone else’s intentions are interpretive decisions, dependent on correct presuppositions—on having the right interpretive key. The novel’s title, in part, refers to this kind of key. Ned Beaumont, the protagonist, has to decide (...) how to govern his relationship with Janet Henry; one of his major clues to her mind is a dream that she tells him, a dream that climaxes in an attempt to lock a door against an onslaught of snakes. Dream interpretation is difficult enough to begin with, and Janet Henry compounds that difficulty by telling the dream twice. In the first version, the attempt to lock the door succeeds; in the second, the key turns out to be made of glass and it shatters. Ned Beaumont, in deciding which dream to us as his key, chooses the second —but it is a choice based on an intuitive mix of experience and faith, knowledge and hunch.A reader often faces the same difficulties that Ned Beaumont does. Reading a book, too, requires us to make a choice about what key to use to unlock it, and that choice must often be based on an intuitive mix of experience and faith, knowledge and hunch. For example, as I shall show, the experience of reading certain texts—not all, but a significant number of them—is problematic because it depends in part on whether the reader has chosen, before picking them up, to approach them as popular or serious. My argument hinges on two prior claims. First, I contend that one way of defining genres is to consider them as bundles of operations which readers perform in order to recover the meanings of texts rather than as sets of features found in the texts themselves. To put this crudely but more modishly, genres can be viewed as strategies that readers use to process texts. Second, I argue that popular literature and serious literature can be viewed as broad genre categories. Peter J. Rabinowitz is associate professor of comparative literature at Hamilton College. He is currently working on a book about literary conventions and is also active as a music critic for such publications as Fanfare and Ovation. His previous contributions to Critical Inquiry are “Truth in Fiction: A Reexamination of Audiences” and “Who Was That Lady? Pluralism and Critical Method”. (shrink)

The strangeness of modern physics has sparked several popular books--such as The Tao of Physics--that explore its affinity with Eastern mysticism. But the founders of quantum mechanics were educated in the classical traditions of Western civilization and Western philosophy. In Nature Loves to Hide, physicist Shimon Malin takes readers on a fascinating tour of quantum theory--one that turns to Western philosophical thought to clarify this strange yet inescapable explanation of reality. Malin translates quantum mechanics into plain English, explaining its origins (...) and workings against the backdrop of the famous debate between Niels Bohr and the skeptical Albert Einstein. Then he moves on to build a philosophical framework that can account for the quantum nature of reality. He shows, for instance, how Platonic and Neoplatonic thought resonates with quantum theory. He draws out the linkage between the concepts of Neoplatonism and the more recent process philosophy of Alfred North Whitehead. The universe, Whitehead wrote, is an organic whole, composed not of lifeless objects, but "elementary experiences." Beginning with Whitehead's insight, Malin shows how this concept of "throbs of experience" expresses quantum reality, with its subatomic uncertainties, its constituents that are waves and also particles, its emphasis on acts of measurement. Once any educated person could explain the universe as a vast Newtonian web of cause and effect, but since quantum theory, reality again appears to be richer and more mysterious than we had thought. Writing with broad humanistic insight and deep knowledge of science, and using delightful conversations with fictional astronauts Peter and Julie to explain more difficult concepts, Shimon Malin offers a profound new understanding of the nature of reality--one that shows a deep continuity with aspects of our Western philosophical tradition going back 2500 years, and that feels more deeply satisfying, and truer, than the clockwork universe of Newton. (shrink)