In lieu of an abstract, here is a brief excerpt of the content:16~ BOOK REVIEWS There are fairly frequent typographical errors in the text; most of them harmless hut one of them reverses the meaning of the sentence- " institutionally prescribed means " for " institutionally proscribed means" (p. 279), and a couple of them are comical-" In a previous part of this discussion (pp. 000-000) ", (p. 265); see also p. 274. MICHAEL STOCK, O.P. St. Stephen Priory Dover, Massachusetts (...) Rhetoric and Praxis: The Contribution of Classical Rhetoric to Prac· tical Reasoning. Edited by JEAN DIETZ Moss. Washington, D.C.: The Catholic University of America Press, 1986. Pp. 168. $24.00 (cloth). The six essays on classical rhetoric which constitute this collection were first presented at a conference entitled Classical Rhetoric and the Teaching of Freshman Composition held October 6-8, 1983, at The Catholic University of America in Washington, D.C. In her excellent introduction, Jean Dietz Moss, the editor, indicates that the purpose of this collection of essays is " to retrieve from the classical age of rhetoric some methods of practical reasoning-methods of stimulating and ordering thought about matters of common concern-that might inform our teaching of writing today" (p. 1). This particular theme runs throughout all of the essays. Professor Moss informs us that the basis of these studies is the conviction that the act of reason has not changed since the time of the Sophists, Plato, and Aristotle, even though its forms have. The reasoning process is the same for us today as it was for those of the past. Armed with this conviction, the authors of these essays attempt to recover from classical rhetoric some means which will assist in the teaching of freshman composition. In the initial essay, Professor Schoeck gives the background and history of rhetoric, thus setting the stage for the essays which follow. These essays take up in turn five classical concepts: topoi, enthymeme, kairos, aitia and telos. The first two concepts are the more familiar and are derived from Aristotle's Rhetoric; the other three, while less familiar, are discovered throughout the writings of other philosophers and rhetoricians of the classical period. Professor Hairston focuses even more sharply on the cause of the present problem in writing among students. Hairston explains that early in the twentieth century rhetoric as an academic discipline was separated from the English BOOK REVIEWS 168 departments, and then, within a brief period of time, was dropped from the curriculum altogether. In the absence of rhetoric, the teaching of writing was left entirely to literature departments, and according to Hairston, this was a serious mistake. The romantic view held by most literature departments at that time led them to deal with writing as a nonrational activity. The papers in this collection put forward the view that composing is a cognitive task and training in rhetoric can assist in its development. Schoeck reflects the attitude of all the contributors when he proposes that what is needed now is a rhetoric for our times. " One of our purposes in these essays is to insure that there will be a renewed presentation that will keep pace with contemporary literary production" (p. 38). One must applaud the effort both to improve the writing of com· positions by students and to recover a part of classical rhetoric for our day. This particular effort to recover some of the riches of the past appears to be a part of a growing trend which the reviewer heartily endorses. By and large, this collection of essays is very good. However, a teacher of composition unfamiliar with rhetoric might find its usefulness limited. Although the terminology is defined within the context of the articles, it is my judgment that the essays would be found difficult to understand by one who had little or no previous familiarity with rhetoric. The usefulness of these essays would improve exponentially for someone who came to them equipped with some knowledge of classical rhetoric. None of the articles deals directly with the problem of teaching writing or communication. The participants at the con· ference at which these essays were originally presented had the advan· tage of ongoing discussions from which they were able to develop tactics to be implemented in the... (shrink)

A sign of Sartre’s belated "coming of age" in professional, English-speaking philosophical circles is the recent shift from exposition to dialogue as analytic authors regard his contribution to current Anglo-American philosophical discussion. One of the interests, not to say obsessions, of analysis has been the philosophy of mind. The literature is vast, and alternative positions have been charted in detail. It is a virtue of Professor Morris’ book that she has mastered a respectable portion of the analytic (...) terrain. Her treatment of Sartre is limited to the writings up to and including Being and Nothingness. The statement of the question is analytic, the response Sartrean. Her assessment of the exchange is that "the concept of a person to be found in Sartre’s early work is not only intelligible but significant. He has led us away from some of the idle considerations in much contemporary analytic discussion of persons qua perceivers and has offered important and probably correct solutions to some of the most pressing and central problems connected with persons considered as moral agents". Thus the standard criteria for reidentification of persons, viz., memory, character, and bodily continuity, are viewed in terms of accountability, thereby underscoring Sartre’s "new criterion of personal identity," fundamental project or ideal self. Crucial to her general thesis is the ambiguity of the "I" for Sartre. The term denotes the body-subject of conscious relations and possessor of physical properties, on the one hand, and a free unification of acts and experiences over time, on the other, like a melody synthesizing individual notes—a standard simile in nonsubstantial theories of the self. She argues that both aspects of the "I" are required to resolve the matter of accountability as we understand it. The question of other minds is raised in the context of Sartre’s claim that "there is nothing behind the body. The body is wholly ‘psychic'." This problematic assertion not only makes his concept of shame-consciousness appear less ad hoc but helps warrant, as well, her claim that he is leaning toward a physicalism "broad enough to include the intentional properties of consciousness". An indication that analysis may be heading in the same direction is taken as an added sign of Sartre’s relevance. (shrink)

Sangharakkhita's Vuttodaya: a study of Pali metre. Pali text and translated into English by R. Siddhartha. Preface by Professor J. W. de Jong. Sri Satguru Publications, India 1981. Distributed by Indian Books Centre, Delhi. v + 54pp. Rs. 50.

"Kevin Hart and Geoffrey H. Hartman bring together essays by prominent scholars from a range of disciplines to focus on Blanchot's diverse concerns: literature, art, community, politics, ethics, spirituality, and the Holocaust."--Jacket.

This book argues for the importance of writing to conceptions of language, technology, and civilization in the early modern era.

During the late eighteenth century the Bible underwent a shift in interpretation so radical as to make it virtually a different book from what it had been a hundred years earlier. Even as its text was being revealed as neither stable nor original, the new notion of the Bible as a cultural artefact became a paradigm for all literature. In Origins of Narrative one of the world's leading scholars in biblical interpretation, criticism and theory describes how, while formal religion declined, (...) the prestige of the Bible as a literary and aesthetic model rose to new heights: not merely was English, German and French Romanticism steeped in biblical references of a new kind, but hermeneutics and, increasingly, theories of literature and criticism were biblically derived. Professor Prickett reveals how the Romantic Bible became simultaneously a novel-like narrative work, an on-going site of re-interpretation, and an all-embracing literary form giving meaning to all other writing. (shrink)

The Industrial Enlightenment is widely thought to have been a period when “science” and “technology” became intimately intertwined. In his 1791 book on the building of the Eddystone lighthouse (completed in 1759), the English engineer John Smeaton praised the Royal Society for being more than a group of abstract theoreticians. This article looks at the fellows of Smeaton's Royal Society network who contributed knowledge, reports, specimens, and inventions solicited by Smeaton when he was working on this lighthouse project. I (...) show, in line with other recent research on this topic, that the “artisans” of the 18th century did not confine themselves to practical know-how, and that “scholars” were not merely interested in abstract philosophising; instead, the figures I look at in this paper were hybrid knowers who possessed useful knowledge and book learning. I argue that the advice solicited by Smeaton during the building of the lighthouse was characterised not by exchanges between theory and practice, but by a combining of different types of knowledge from separate fields. A second feature of this intellectual co-operation is that it was not centred on a group of practical industrialists or engineers, but rather it was the Royal Society that served as the common denominator, bringing all of the characters in our story into contact with each other. This is reflected in the subject matter involved, which was characteristic of the research focus of the virtuoso tradition in the 18th-century Royal Society. Smeaton's contact with this tradition was influenced by his friendships, his social activities, and, indirectly, by the way that the dissensions that occupied the Royal Society during the early 1780s impacted his retrospective account of the project. (shrink)

How did the events of the early modern period affect the way gender and the self were represented? This collection of essays attempts to respond to this question by analysing a wide spectrum of cultural concerns - humanism, technology, science, law, anatomy, literacy, domesticity, colonialism, erotic practices, and the theatre - in order to delineate the history of subjectivity and its relationship with the postmodern fragmented subject. The scope of this analysis expands the terrain explored by feminist theory, while its (...) feminist focus reveals that the subject is always gendered - although the terms in which gender is conceived and represented change across history. Feminist Readings of Early Modern Culture not only explores the representation of gendered subjects, but in its commitment to balancing the productive tensions of methodological diversity, also speaks to contemporary challenges facing feminism. (shrink)

Irish literature after Yeats and Joyce, from the 1920s onwards, includes texts that have been the subject of much contention. For a start, how should Irish literature be defined: as works which have been written in Irish or as works written in English by the Irish? It is a period in which ideas of Ireland--of people, community, and nation--have been both created and reflected, and in which conceptions of a distinct Irish identity have been articulated, defended, and challenged; a (...) period which has its origins in a time of intense political turmoil. Corcoran focuses his chapters on various themes such as "the Big House," and the rural and the provincial and offers discussions of authors ranging from Kinsella and Beckett to William Trevor, Seamus Heaney, and Mary Lavin, to provide a lucid and far-reaching introduction to modern Irish writing. (shrink)

Thomas Hill Green was one of the most influential English thinkers of his time, and he made significant contributions to the development of political liberalism. Much of his career was spent at Balliol College, Oxford: having begun as a student of Benjamin Jowett, he later acted effectively as his second-in-command at the college. Interested for his whole career in social questions, Green worked on the commission which led to the Endowed Schools Act of 1869, and supported the temperance movement, (...) the extension of the franchise, and the admission of women to university education. He became Whyte's professor of moral philosophy at Oxford in 1878, and his lectures had a lasting influence on a generation of students of philosophy and political thought. This collection of Green's writings, published in three volumes from 1885 to 1888, was edited by R. L. Nettleship, one of his Balliol students. (shrink)

Thomas Hill Green was one of the most influential English thinkers of his time, and he made significant contributions to the development of political liberalism. Much of his career was spent at Balliol College, Oxford: having begun as a student of Jowett, he later acted effectively as his second-in-command at the college. Interested for his whole career in social questions, Green supported the temperance movement, the extension of the franchise, and the admission of women to university education. He became (...) Whyte's professor of moral philosophy at Oxford in 1878, and his lectures had a lasting influence on a generation of students. Much of Volume 1, edited by Green's pupil R. L. Nettleship and published in 1885, consists of Green's work on David Hume. In his essay, 'Introductions to Hume's Treatise of Human Nature', Green gives a detailed critique of Hume's metaphysical thought. (shrink)

The "Kinsey Report" suggests the existence of such a mentality. Of 142 women with much homosexual experience, 70 percent reported no regrets. This consciousness has manifested itself in literature in two ways. First, in lesbian romanticism: fusions of life and death, happiness and woe, natural imagery and supernatural strivings, neoclassical paganism with a ritualistic cult of Sappho, and modern beliefs in evolutionary progress with a cult of the rebel. At its worst an inadvertent parody of fin de siecle decadence, at (...) its best lesbian romanticism ruthlessly rejects a stifling dominant culture and asserts the value of psychological autonomy, women, art, and a European civilization of the sensuous, sensual, and voluptuous. Woolf's Orlando is its most elegant and inventive text, but its symbol is probably the career of Natalie Barney, the cosmopolitan American who was the prototype of Valerie Seymour.23· 23. See Rubin, introduction to Vivien's A Woman Appeared to Me, and George Wickes, The Amazon of Letters: The Life and Loves of Natalie Barney .Catherine R. Stimpson, professor of English at Rutgers University, is the former editor of Signs: Journal of Women in Culture and Society. The author of both critical essays and fiction, she recently co-edited, with Ethel Spector Person, Women, Sex and Sexuality. (shrink)

I have taken such pains to indicate the scope, terms, and foci of Neumann's analysis because he provides one of the main pillars on which any further systematic study of the woman hero must rest. By showing Psyche's relation to the mythic or archetypal structure of heroism, by demonstrating the particular ways in which the hero is a figure distinguished primarily by involvement in particular patterns of action and psychological development, Neumann provides an invaluable service to further studies of literature, (...) heroism, and women. Without belaboring the distinction between the hero and the heroine, Neumann validates the claim that a woman can be a hero and eliminates the awkward distinction between the heroine as heroic figure and the heroine as conventional woman that has perplexed so much recent literary, especially feminist, analysis.1 He is also very good at locating the details in Psyche's dilemma that constitute significant associative images within a narrative representing heroism by means of a female character. Specifically, he indicates how Psyche's beauty is as much a burden as a boon, shows the importance of her relationship to other female characters, and points out the ways in which the apparent hostility of other women acts as a necessary goad to Psyche's own developing independence. Neumann's analysis is also suggestive in showing the appropriateness of archetypal criticism to material which is not myth in the narrow sense. To be sure, Apuleius' Amor and Psyche results from the distillation of narratives whose origins are clearly to be found in the folklore and functioning mythologies of Greek and Roman culture; just as clearly, however, Apuleius is telling his tale as part of a highly self-conscious, complexly structured narrative2 analogous, in some ways, to Chaucer's Canterbury Tales, Bunyan's Pilgrim's Progress, Milton's great religious epics, and even that seemingly least mythic set of narrative structures, the novel. · 1. See, e.g., Ellen Moers' long discussion of "heroinism" in Literary Women: The Great Writers , pp. 113-242. Moers' use of this awkward term, the female version of the presumably masculine heroism, perpetuates the idea that only men can be true heroes, while extraordinary women remain "special cases" necessitating special terminology.· 2. See P. G. Walsh, The Roman Novel: The 'Satyricon' of Petronius and the 'Metamorphoses' of Apuleius , pp. 141-223. Lee R. Edwards is an editor of The Massachusetts Review and an associate professor of English at the University of Massachusetts at Amherst. She is presently completing The Labors of Psyche: Female Heroism and Fictional Form. (shrink)

"Williams's masterful translation satisfies (at last!) a long-standing need. There are lots of good translations of Augustine's great work, but until now we have been forced to choose between those that strive to replicate in English something of the majesty and beauty of Augustine's Latin style and those that opt instead to convey the careful precision of his philosophical terminology and argumentation. Finally, Williams has succeeded in capturing both sides of Augustine's mind in a richly evocative, impeccably reliable, elegantly (...) readable presentation of one of the most impressive achievements in Western thought--Augustine's Confessions." --Scott MacDonald, Professor of Philosophy and Norma K. Regan Professor in Christian Studies, Cornell University. (shrink)

Thomas Hill Green was one of the most influential English thinkers of his time, and he made significant contributions to the development of political liberalism. Much of his career was spent at Balliol College, Oxford: having begun as a student of Benjamin Jowett, he later acted effectively as his second-in-command at the college. Interested for his whole career in social questions, Green supported the temperance movement, the extension of the franchise, and the admission of women to university education. He (...) became Whyte's professor of moral philosophy at Oxford in 1878, and his lectures had a lasting influence on a generation of students. Volume 2, published in 1886, consists of Green's unpublished lecture notes. The Lectures on the Principles of Political Obligation drew criticism upon Nettleship, Green's pupil and editor, for his editorial interventions: the idea of 'common good' was thought to vary significantly here from Green's other writings. (shrink)

What so many readers—whether "sensitive and intelligent" and comprising "generations" I do not know—have found in Fiction and the Shape of Belief is sheer delight in the rigor and shrewdness of the argument. The most formidable part of Sacks' book is precisely what one would at first necessarily consider the soft spot: the relations of "belief" to fictional form. If one allows the assumptions about a stable and controllable language implicit in the argument and then perhaps substitutes a Boothian term (...) like "implied author" for "Fielding," the demonstrations are irresistible. Sacks sets himself the job of trying to "formulate a theory about a constant and necessary relationship between the ethical beliefs of novelists . . . and novels" . He works his way through various possibilities largely by means of eliminating the crude and the obvious. The question "What must Fielding have believed to have created such a character or devised such a situation?" is at first answered by "Almost anything." We can infer little directly about belief from "situation characters"; we must be very careful not to regard the speeches of paragon characters as "isolable topical essays" . While the model of a novel presented to us is "constructed," architectural, and therefore undynamic, it is also highly complex. The process of making inferences from the relations between parts and between the parts and the whole, of comparing signals with other signals, is delicate indeed. Sacks' method is to lead us gradually toward more and more complex formulations of belief, blocking easy answers and forcing us to take more and more into account. He is gracious toward but has little interest in historical or biographical evidence that would bear on the question of belief; his subject is relentlessly formal. The central concern—"How can any novelist embody his beliefs in novels?"—is focused on "how," on the manipulation of formal devices, not on the content of that belief. Once inside the system, one can do little but cheer. James R. Kincaid is professor of English at the University of Colorado at Boulder. The author of Dickens and the Rhetoric of Laughter, Tennyson's Major Poems: The Comic and Ironic Patterns, and The Novels of Anthony Trollope, he is currently writing a book on narrative structures and the question of coherence. His previous contributions to Critical Inquiry are "Coherent Readers, Incoherent Text" and "Pluralistic Monism". (shrink)

Thomas Hill Green was one of the most influential English thinkers of his time, and he made significant contributions to the development of political liberalism. Much of his career was spent at Balliol College, Oxford: having begun as a student of Jowett, he later acted effectively as his second-in-command at the college. Interested for his whole career in social questions, Green supported the temperance movement, the extension of the franchise, and the admission of women to university education. He became (...) Whyte's professor of moral philosophy at Oxford in 1878, and his lectures had a lasting influence on a generation of students. Much of Volume 1, edited by Green's pupil R. L. Nettleship and published in 1885, consists of Green's work on David Hume . In his essay, 'Introductions to Hume's Treatise of Human Nature' , Green gives a detailed critique of Hume's metaphysical thought. (shrink)

Despite all its merits, the vast majority of critical attention devoted to colonialist literature restricts itself by severely bracketing the political context of culture and history. This typical facet of humanistic closure requires the critic systematically to avoid an analysis of the domination, manipulation, exploitation, and disfranchisement that are inevitably involved in the construction of any cultural artifact or relationship. I can best illustrate such closures in the field of colonialist discourse with two brief examples. In her book The Colonial (...) Encounter, which contrasts the colonial representations of three European and three non-European writers, M. M. Mahood skirts the political issue quite explicitly by arguing that she chose those authors precisely because they are “innocent of emotional exploitation of the colonial scene” and are “distanced” from the politics of domination.`1We find a more interesting example of this closure in Homi Bhabha’s criticism. While otherwise provocative and illuminating, his work rests on two assumptions—the unity of the “colonial subject” and the “ambivalence” of colonial discourse—that are inadequately problematized and, I feel, finally unwarranted and unacceptable. In rejecting Edward Said’s “suggestion that colonial power and discourse is possessed entirely by the colonizer,” Bhabha asserts, without providing any explanation, the unity of the “colonial subject .”2 I do not wish to rule out, a priori, the possibility that at some rarefied theoretical level the varied material and discursive antagonisms between conquerors and natives can be reduced to the workings of a single “subject”; but such a unity, let alone its value, must be demonstrated, not assumed. Though he cites Frantz Fanon, Bhabha completely ignored Fanon’s definition of the conqueror/native relation as a “Manichean” struggle—a definition that is not a fanciful metaphoric caricature but an accurate representation of a profound conflict.3 1. M. M. Mahood, The Colonial Encounter: A Reading of Six Novels , pp. 170, 171; and see p. 3. As many other studies demonstrate, the emotional innocence and the distance of the six writers whom Mahood has chosen—Joseph Conrad, E. M. Forster, Graham Greene, Chinua Achebe, R. K. Narayan, and V. S. Naipaul—are, at best, highly debatable.2. Homi K. Bhabha, “The Other Question—The Stereotype and Colonial Discourse,” Screen 24 : 25, 19.3. Frantz Fanon, The Wretched of the Earth, trans. Constance Farrington , p. 41. Abdul R. JanMohamed, assistant professor of English at the University of California, Berkeley, is the author of Manichean Aesthetics: The Politics of Literature in Colonial Africa. He is a founding member and associate editor of Cultural Critique and is currently working on a study of Richard Wright. (shrink)

However, Stein's self-images are more than appropriations of a male identity and masculine interests. Several of them are irrelevant to categories of sex and gender. In part, Stein is an obsessive psychologist, a Euclid of behavior, searching for "bottom natures," the substratum of individuality. She also tries to diagram psychic genotypes, patterns into which all individuals might fit. Although she plays with femaleness/maleness as categories, she also investigates an opposition of impetuousness and passivity, fire and phlegm; a variety of regional (...) and national types; and the dualism of the "dependent independent," who tends to resist. In part, as she puzzles her way towards knowing and understanding, she presents herself as engaged in aural and oral acts, listening and hearing before speaking and telling. That sense of perception as physical also emerges in a passage in which she, as perceiver/describer, first incorporates and then linguistically discharges the world: "Mostly always when I am filled up with it I tell it, sometimes I have to tell it, sometimes I like to tell it, sometimes I keep on with telling it."1 · 1. The Making of Americans: Being a History of a Family's Progress , p. 325. Catharine R. Stimpson, associate professor of English at Barnard College, is the editor of Signs: Journal of Women in Culture and Society and the author of J.R.R. Tolkien as well as other essays and fiction. See also: "Visual Rhetoric in The Autobiography of Alice B. Toklas" by Paul K. Alkon in Vol. 1, No. 4; "Gertrude Stein, the Cone Sisters, and the Puzzle of Female Friendship" by Carolyn Burke in Vol. 8, No. 3. (shrink)

Like every great word, “representation/s “ is a stew. A scrambled menu, it serves up several meanings at once. For a representation can be an image—visual, verbal, or aural. Think of a picture of a hat. A representation can also be a narrative, a sequence of images and ideas. Think of the sentence, “Nancy Reagan wore a hat when she visited a detoxification clinic in Florida.” Or, a representation can be the product of ideology, that vast scheme for showing forth (...) the world and justifying its dealings. Think of the sentence, “Nancy Reagan, in her hat, is a proper woman.” In the past twenty years, feminist thinking about representation has broken apart. This fracture is both cause and symptom of the larger collapse of a feminist cultural consensus. Some of the rifts have been thematic. That is to be represented? Others have been theoretical. What is the nature of representation itself? I wish to map these rifts, especially those in the United States, and to wonder about the logic of a new cultural consensus.In the late 1960s, feminists began to share a cultural consensus about the representation of women and gender. Few who built up that consensus were village idiots. Even without being semioticians, everyone more or less knew that the marriages between the signifier and the signified in that odd couple, the sign, were ones of convenience. Everyone more or less knew that the marriages between the sign and the referent, that hubbub out there, or somewhere, were also ones of convenience. Some survived. Others were obsolete, cold, hostile, ending in separation or divorce. Everyone more or less knew that when I exclaimed, “Nancy Reagan wears a hat,” it was easier for a fellow citizen of my linguistic community to understand me than for a stranger to do so. Nevertheless, the consensus offered a rough, general theory of representation that extolled the possibility of a fit between “reality” and its “description” or “image.” Catharine R. Stimpson is professor of English and dean of the Graduate School at Rutgers University. She is presently at work on a book about Gertrude Stein. (shrink)

Thomas Hill Green was one of the most influential English thinkers of his time, and he made significant contributions to the development of political liberalism. Much of his career was spent at Balliol College, Oxford: having begun as a student of Benjamin Jowett, he later acted effectively as his second-in-command at the college. Interested for his whole career in social questions, Green supported the temperance movement, the extension of the franchise, and the admission of women to university education. He (...) became Whyte's professor of moral philosophy at Oxford in 1878, and his lectures had a lasting influence on a generation of students. Volume 3, published in 1888, contains a memoir by Nettleship, Green's pupil and editor, drawing on Green's recollections, as well as the memories of friends and family. The rest of the volume consists of essays on topics ranging from Aristotle to Christian dogma. (shrink)