Nach einer kurzen Darstellung der Definitionen von Emo­tionen und Emotionsregulierung folgen verschiedene Ansätze der Klassifikation von Eifersucht. Übereinstimmend wird Eifersucht als Prozess verstanden, der typischerweise durch eine triadische Beziehungsstruktur – sei diese real oder auch nur gefürchtet – ausgelöst wird. Auf diese wahrgenommene Gefahr gibt es mehrere Möglichkeiten der Reaktion. Diese sind nicht nur situationsabhängig, sondern variieren sowohl inter- wie auch intrapersonell. Im psychoanalytischen Diskurs dominieren heute Zusammenhänge zwischen frühen Beziehungserfahrungen und Eifersucht, wobei vor allem (kumulativ) traumatisierende Beziehungserfahrungen mit (...) einer erhöhten Vulnerabilität für stärkere Eifersucht zusammenhängen könnten. Empirische Ergebnisse der Bindungsforschung zeigen ebenfalls solche Zusammenhänge. (shrink)

이 글은 한국사회에서 논란이 되는 리얼돌(real doll)이 단순한 성적 만족을 위한 도구 가 아닌 인격적 존재로 발전될 수 있는가에 관해 논하고자 한다. 그를 위해서 우선 리얼돌 에 반대하는 대표적인 입장의 핵심 논변인 ‘상징-결과 논변(symbolic-consequences argument)’을 비판적으로 검토해보고자 한다. ‘상징-결과 논변’은 리얼돌(섹스봇 포함)이 윤리적으로 문제가 있는 성적 규범(sexual norms)을 상징적으로 보여주며, 이는 결과적 으로 사회에 부정적인 영향을 미치므로 리얼돌의 생산 및 판매가 금지되어야 한다고 주장 한다. 본 논문에서는 윤지영(2020)의 입장을 ‘상징-결과 논변’으로 재구성하여, 그 타당성과 건전성을 검토해보고자 한다. 결론적으로 리얼돌이 (...) 여성에 대한 남성의 왜곡된 성적 인식 을 상징적으로 보여주며, 그 결과 리얼돌의 생산 및 판매가 금지되어야 한다는 이 논변은 건전하지 못한 논변임이 드러날 것이다. 끝으로 만일 ‘상징-결과 논변’이 건전하지 못한 논변이라면, 우리 사회가 리얼돌을 어 떻게 바라봐야 하는지(바라 볼 수 있는지), 그리고 철학의 영역이 끝나고 제도적, 법적 규 제가 시작되는 지점이 어디인지를 분명하게 드러내 보고자 한다. (shrink)

Robots are simultaneously real machines and technical images that challenge our sense of self. I discuss the movie Ex Machina by director Alex Garland. The robot Ava, played by Alicia Vikander, is a rare portrait of what could be interpreted as a feminist robot. Though she apparently is created as the dream of the ‘perfect woman’, sexy and beautiful, she also develops and urges to free herself from the slavery of her creator, Nathan Bateman. She is a robot created (...) along the perfect dimensions as a Vitruvian robot but is also a creature which could be interpreted as a human being. However, the point I want to raise is not whether Ava’s reaction to robot slavery is justified or not but how her portrait raises questions about the blurred lines between reality and fiction when we discuss our robotic future. A real version of Ava would not last long in a human world because she is basically a solipsist, who does not really care about humans. She cannot co-create the line humans walk along. The robots created as ‘perfect women’ today are very far from the ideal image of Ava. They are sexist, primitively normative and clearly ‘wax-doll machines’. So though Ava’s dimensions are perfect she, like the Vitruvian Man, remains a fiction. In real life, however, we may have to deal with an increasing solipsism stemming from people engaging with machines like sex robots. In this case, it is human and not robotic solipsism we need to worry about. (shrink)

In rubber hand illusions and full body illusions, touch sensations are projected to non-body objects such as rubber hands, dolls or virtual bodies. The robustness, limits and further perceptual consequences of such illusions are not yet fully explored or understood. A number of experiments are reported that test the limits of a variant of the rubber hand illusion. Methodology/Principal Findings -/- A variant of the rubber hand illusion is explored, in which the real and foreign hands are aligned in (...) personal space. The presence of the illusion is ascertained with participants' scores and temperature changes of the real arm. This generates a basic illusion of touch projected to a foreign arm. Participants are presented with further, unusual visuotactile stimuli subsequent to onset of the basic illusion. Such further visuotactile stimulation is found to generate very unusual experiences of supernatural touch and touch on a non-hand object. The finding of touch on a non-hand object conflicts with prior findings, and to resolve this conflict a further hypothesis is successfully tested: that without prior onset of the basic illusion this unusual experience does not occur. Conclusions/Significance -/- A rubber hand illusion is found that can arise when the real and the foreign arm are aligned in personal space. This illusion persists through periods of no tactile stimulation and is strong enough to allow very unusual experiences of touch felt on a cardboard box and experiences of touch produced at a distance, as if by supernatural causation. These findings suggest that one's visual body image is explained away during experience of the illusion and they may be of further importance to understanding the role of experience in delusion formation. The findings of touch on non-hand objects may help reconcile conflicting results in this area of research. In addition, new evidence is provided that relates to the recently discovered psychologically induced temperature changes that occur during the illusion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:XY/XOLianne SimonAs a boy child I might once have thrived, but the loss of a Y chromosome in one of the first few cell divisions left me a faie half–girl struggling for life—like some changeling left in place of a human baby. My genetic mosaic of XY and XO cell lines created a fetal legacy of Turner Syndrome medical issues. Among these were delayed growth, a largely absent puberty, (...) and micrognathia—a small jaw that feminized my face. [End Page E11]At two I weighed just eighteen pounds. My parents worried they might lose their little boy, I was that frail. All I knew was I was the smallest of my peer group and had a cute pixie face. I imagined myself a high–spirited elfin princess, but was in truth shy—almost timid—and prone to tears.I first responded to the Gospel at vacation Bible school. One of the women there read me Bible stories. I didn’t understand them all, but I wanted to love Jesus and be a good girl.At nine I was the size of a 6–year–old. By then I’d started growing faster, so my mother stopped taking me to the doctors. I didn’t see one again until an emergency appendectomy in college.Fifth grade brought surprises. Jim melted my heart with his Beatles love songs and cute smile. I dreamed of being his bride. Karen was the first classmate ever shorter than me. We were best friends, but one day the principal said I should play softball with the boys instead of hopscotch with her.My parents allowed me dolls and tea sets, even an Easy–Bake oven. But wearing my sister’s clothes triggered a sad–eyed lecture—boys didn’t do such things. No dresses. No talking with my hands. No long hair. And no crushes on boys.If I prayed hard enough, if I was really good, maybe God would make me a real boy—tall and strong, fast and agile—like my older brother. Two years later, puberty cracked my high–pitched squeal of a voice and sent it sliding down to a mellower soprano. I grew taller, but didn’t get muscles or body hair, and I remained hopelessly uncoordinated. An inguinal hernia kept me from running very far.High school turned my prayers into pleas for mercy. I despaired of ever fitting in. Some Christians might not have welcomed a feminine boy, but the pastor of our Southern Baptist mission considered me one more sinner in need of the saving grace of a forgiving God. He led me to faith in Christ. As a new believer, I assumed I could be a boy for real. Maybe even find a girlfriend. Instead, the mask that allowed me to function socially crumbled, leaving me no place to hide.In the spring of 1970, I registered for the draft. Me fighting in Vietnam seemed a real possibility. Or at least spending time in prison for refusing induction. Except that a delicate intersex kid would never have passed the physical. Nearly perfect SAT scores won me a scholarship to Miami, so I left a supportive home in Illinois for a boys’ dorm in south Florida.My surname then was Klett. The worst of the guys called me Clit, or sometimes Clitoris. Others derided my small size and lack of virility. One propositioned me. Another used to pin me to my bed and lie on top of me until I quit struggling. Though he stopped each time I surrendered, my defenses lay in ruin.A few of the boys were nice. David took me for long rides on his motorcycle, with my arms wrapped tight around his waist. He treated me with gentle kindness and asked nothing in return.To escape the dorm, I studied in the library stacks, where only honors and graduate students were allowed. The next year I found a derelict building where the university stored old theatrical sets. It even had a quiet place to sit in the sun. Best of all—nobody ever went there.One day my imagination wandered through the wardrobe. What would I have worn... (shrink)

The article focuses on the historical, psychological, anthropological, and sociocultural aspects of the phenomenon of a double. Compared with other beings, a human is constantly forming strategies for the realization of his or her freedom. Therefore, human beings do not adapt to the world but create unusual projections of themselves. As a result, there are specific models of entering into the Being, based on a symbolic construction. Symbolism as the main component of duplication is the central point of the study. (...) The symbol allows us to intermediate various important formations of human existence, and to combine contradictory components. Reflection on the role of doubling in human existence is the main approach of this study. A human creates numerous symbolic images such as twins, a mask, a doll, the right and left hand, a mirror, a shadow. Since ancient times, people project themselves into other dimensions, go beyond the usual space and temporal coordinates, push their boundaries, and try to prolong their existence. Doubling helps individuals to assert themselves, find successful forms of life protection, get support in extreme situations, obtain new characteristics, exam the ideal modes of their prototypes. The appearance of a double does not necessarily mean a precise copy of oneself. Rather, it means exploration for a balance, a way to combine the opposites through continuous mediation, comparing oneself with the Other, and understanding one’s own alienation. Reduplication allows people to change, improve, overcome one- dimensionality, construct the identity, and achieve the fullness of their personality. This ability causes self-actualization, self-knowledge, self-awareness, and meaningful self-observation. Duality uncovers the physiological and mental asymmetry of the human being, helps to distinguish between real and virtual, facilitates social adaptation, promotes self-esteem, delineation, and localization of negative manifestations.Manuscript received 11.08.2020. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Frames, Contexts, Community, JusticeRanjana Khanna (bio)There is a photograph of Jacques Derrida, aged about three, in a toy car at his childhood home in Algiers [fig. 1]. It is not an unusual photograph; in fact, its typicality is striking. It is the kind of photograph one might find in most family albums. Little boys are often found in toy cars, just as little girls are frequently holding a (...) class='Hi'>doll, or dancing.1 The codes of a family album, transposed to an academic album, highlight the manner in which typicality itself tells a story of framing, of gendered gestures, of senses of belonging, of familial legend making, and of intellectual genealogy.2 And such codes provide a frame for a general contextual understanding of the photograph and therefore [End Page 11] Click for larger view View full resolutionFigure 1.Photograph of Jacques Derrida aged 3. Printed in Geoffrey Bennington and Jacques Derrida, Jacques Derrida (Paris: Seuil, 1991) 9.[End Page 12]for what Barthes calls its studium.3 But, as Barthes remarked in his Camera Lucida, a book about photography and about his dead mother, there is frequently something else in a photograph: the punctum. It wounds a viewer, and remains in the viewer's memory when he or she looks away from the photograph. It is a singular relationality, and, for the mourning Barthes, encloses the possibility of a hopeful reciprocity. For me, however, beyond the gendered coding of this photograph, it is not the promise of a reciprocity, but the demand of something unknowable that exists potentially beyond the frame of the photograph. A rectangular void that appears to be the back window of a large car opens onto an unknown. The opening itself is a wounding of the frame.The photograph includes multiple frames, in the sense that a doubling occurs with one frame in the foreground, with Derrida in his toy car, and another frame in the background, with a real car. The child in his car is enclosed in this scene through perpendicular lines, as if framing him in a safe world. The real car is separated by these lines, as if in a square on its own. And through the rear window of this car, there is another enclosure, a rectangular opening, which alerts the viewer to an infinite regression of frames, each enclosing its own image and its own universe, each thematizing the mobility that suggests it could move beyond its immediate frame. This superimposition of a toy car onto an adult scene of mobility not only alerts the viewer to the thematic exploration of infinite generational migration and immigration but also presents us with a visual doubling and echoing, itself suggesting the excess that always exceeds the frame. The frame may appear to exist on its own terms, permitting or excluding hospitality to its hostile excess, and yet what persists in this photograph is the permeability of the frame and its necessary acknowledgment of the other at its border, which both frames and unframes.A frame both determines and supplements meaning. It is both host to meaning and simultaneously hostile to its narrow condition. This rendition of the frame visualizes both its enclosed protective nature as host, and its permeability to the outside, to a potentially hostile supplement. Derrida's thinking has explored the concepts of framing and hospitality in a manner that has often called attention to, and yet not engaged with, women as a sometimes hostile supplement. The concept of hospitality, whether political, academic, domestic, or psychical, has allowed, however, for a consideration of something that supplements this thinking, and indeed this boyhood photograph of potential mobility: the various frames in which Algerian women have been situated, and their different relation to gesture, mobility, and symbolization in the modern period. This article engages with Derrida's work on framing and hospitality in order to reach its supplement, allowing for a consideration of the political stakes of doing feminist work across borders. The stakes of the philosophical apparatus that seem pertinent to the ethical work of postcolonial feminism are permeated with questions of framing and hospitality. Academic hospitality means an openness to one's subject matter, which would include... (shrink)

What is a toy? As objects of play, toys seem to be inextricably bound up with mimesis: a child plays ‘make believe’, for example, with a doll or toy cart. But as I will show, Plato has a very different conception of toys from the modern one which tends to conceive of play as essentially mimetic. Toys do not derive their pleasure from being mimetic objects; rather, they are essentially pleasure objects and as such only incidentally mirror the objects (...) of a ‘serious’ or ‘real’ world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dialogic and the Aesthetic:Some Reflections on Theatre as a Learning MediumAnthony Jackson (bio)A Doll's House will be as flat as ditchwater when A Midsummer Night's Dream will still be as fresh as paint; but it will have done more work in the world; and that is enough for the highest genius, which is always intensely utilitarian.— George Bernard Shaw, "The Problem Play"1People have tried for centuries to (...) use drama to change people's lives, to influence, to comment, to express themselves. It doesn't work. It might be nice if it worked, but it doesn't. The only thing dramatic form is good for is telling a story.—David Mamet, A Whore's Profession2These two assertions, some 100 years apart, were of course meant to be contentious—but they do point to one of the recurring questions about the role that theatrical art plays in modern Western culture and nicely encapsulate the contrasting claims made by practitioners and critics alike for the "work in the world" that drama can do. On the one hand, it is argued that what is conventionally thought of as great dramatic art—while it may be imaginatively rich, aesthetically compelling, and "timeless" in its appeal—will not achieve the social impact that plays such as A Doll's House have done. Such plays have a different function. They can be directly useful to us in the "real world" beyond the theatre walls, perhaps capable of influencing that world or at least influencing the way we think about and operate in the world—but they may not, consequently, have much shelf life. A Doll's House, of course, obstinately refuses to leave both shelf and stage but in this respect may be an exception that proves the rule; the vast majority of "interventionist" dramas rarely outlive their historical moment. (A play such as Spirochete, a [End Page 104] living newspaper written in 1938 in Chicago with the aim of heightening public awareness of the widespread—but barely discussed—problem of syphilis and of the cures available, undoubtedly did much effective work in the world but remains of and for its time.3 )On the other hand, playwright David Mamet casts buckets of cold water over the whole notion of "useful" dramatic art. Let us not delude ourselves, he argues, into thinking drama is good for anything else than telling a story—the value of good dramatic storytelling is important enough as it is. It serves the art form—and possibly those we wish to influence—badly if we insist on trying to change the world using drama as our lever. A genuine work of art, it is often said, cannot be didactic or "instrumental." The novel, play, or poem that sets out to convey information or to preach a message risks surrendering those very qualities we usually value in art—complexity, multilayered meanings, richness of imagination. Jonathan Levy, in his A Theatre of the Imagination, argues that "the impulse to create theatre for children is the impulse to give a gift, without strings. It is this impulse... we should... call upon when we find ourselves in the theatre tempted to teach."4 Further, "when art is used to teach, either the teaching or the art must suffer."5 The implication is clearly that teaching and dramatic art make awkward bedfellows. It has to be one or the other, not both. The late, much missed, Lowell Swortzell took a not dissimilar line in his provocative essay on theatre-in-education, "Trying to like TIE,"6 and many practitioners of children's and young people's theatre have likewise resisted having their work categorized as educational or in any way curriculum driven. The work must have its own justification, as art, as storytelling, offering young people an experience that may complement but that is fundamentally different from anything else they get in school. Even Augusto Boal has at times appeared to reinforce the dichotomy. Arguing for a theatre that can serve the immediate needs of the marginalized, the oppressed, and the disadvantaged, he has negotiated a challenging and productive path through the artistic and socially responsive implications of... (shrink)

For more than fifteen years, Melissa Ann Pinney has been making photographs of girls and women, from infancy to old age, to portray how feminine identity is constructed, taught, and communicated. Her work depicts not only the rites of American womanhood—a prom, a wedding, a baby shower, a tea party—but the informal passages of girlhood: combing a doll's hair, doing laundry with a mother, smoking a cigarette at a state fair. With each view, we gain a greater understanding of (...) the connections between mother and daughter, and by extension the larger world of family, friends, and society. Pinney's approach to interpreting girlhood became more complicated and complex when her daughter, Emma, was born eight years ago. Emma's childhood evoked in Pinney her own girlhood and gave her work new meaning and purpose. Ultimately, Regarding Emma shares with all of us the incremental and the ritualistic changes that take place in a woman's life over time. Her photographs are artistic and social documents that reveal the subtle and bold aspects of feminine identity—documents whose reach will extend well beyond the walls of America's leading galleries and museums into the hearts and homes of everyday Americans. "Melissa Ann Pinney is making powerful art. In matters of light, color, and composition she is flawless. But these are not simply constructions of elements. These photographs bear witness to the speed at which the little girl becomes the old woman, to the fleeting, breathless beauty of childhood, to life itself, which leaves us stunned in its wake."—Ann Patchett, from the Foreword "Melissa Ann Pinney provides a compelling portrait of American girls as they make their way from infancy to adulthood. Using her daughter's childhood as a point of departure, she traces the complex terrain of adolescence and budding femininity. The results are photographs marked by empathy and grace."—Sylvia Wolf, Sondra Gilman Curator of Photography, Whitney Museum of American Art, New York City "These photographs by Melissa Ann Pinney impart a sense of the special and sacred everyday rituals we take for granted. She appreciates at once the transient nature of what she finds and its gravity. Her pictures describe so well the wonder, and beauty, and centrality of the things we know best and the people we see often."—Sandra S. Phillips, Curator of Photography, San Francisco Museum of Modern Art "Melissa Ann Pinney's record of life with her daughter, Emma, adds a new and touching chapter to our knowledge of the lives of women and girls."—Adam Gopnik, author of Paris to the Moon and a staff writer for The New Yorker "Melissa Pinney's passionate, painstaking investigation of the stages of women's lives is impressive for its rigor and courage. Her themes aren't imposed on the pictures or on the women, men, and children who people them; instead, they arise from her attentive study of particularities— of the ways human lives are etched on the surfaces of faces and the positions of bodies in real spaces and places, mundane but radiant. When she turns from the lives of others to her own life, the shift is seamless but the volume swells, the emotions grow more pointed and the paradoxes more painful, joyous, and direct. This is remarkable work by an artist at the height of her powers."—Peter Bacon Hales, author of William Henry Jackson and the Transformation of the American Landscape. (shrink)

Iphigenia Aulidensis was produced after the poet's death, probably in 405 BC. The aim of this paper is to recover the text of this production, which I call FP for First Performance. Probably Euripides left behind an incomplete draft, which was finished by Euripides Minor, the poet's son or nephew. The text we have contains, as Page showed in 1934, material added for a fourth-century revival and other still later interpolations. Diggle's edition tries to separate original Euripides from all later (...) hands on the basis of style. But if we want to recover the amalgam that was FP we need to be attentive to the plot that is implied by the most clearly genuine portions: we can't confine ourselves to what appears to be Euripidean since more than one hand contributed to FP. A discovery about the plot gives us some objective basis for reconstructing FP. Our transmitted text contains two different conceptions of Calchas' prophecy, only one of which belonged to FP. Several passages scattered throughout the play imply that it was public, made to the entire army, but other passages say that it was private, restricted to Agamemnon's inner circle, with the army left in the dark. The secret prophecy motif, I argue, is the work of a fourth century producer, whom I call the Reviser. Its purpose was to introduce into the play scenes where Greek soldiers, ignorant of the real reason for Iphigenia's coming to Aulis, might make naive comments or ask questions that are highly ironic in view of the actual situation, this being an emotional effect he found congenial. We find two such passages in places that are under grave suspicion: the entrance of Clytaemestra, where there is a chorus of Argives who felicitate Iphigenia on her wonderful prospects, and the first messenger, who reports naive questions from the soldiery. Both these passages have linguistic and dramaturgical features that make it virtually certain that neither Euripides nor Euripides Minor wrote them. Working from these we can detect the Reviser's hand at other places in the play and reconstruct its original lineaments. One satisfying result is that the business of baby Orestes, played by a doll, can be shown to be the work of the Reviser. The play ended with Iphigenia's departure for the altar, and there was no substitution of a stag. Like Menoeceus, Macaria and their kin, Iphigenia pays for the victory of her country with her blood, and there is no happy ending. (shrink)

In this chapter, we ask three questions about pedophilia: Is it immoral to be a pedophile? Is it immoral for pedophiles to seek out sexual contact with children? Is it immoral for pedophiles to satisfy their sexual preferences by using computer-generated graphics, sex dolls, and/or sex robots that mimic children? We argue that it is not immoral to be a pedophile, it is immoral for pedophiles to seek out sexual contact with children because of the expected harm to children, and (...) it is morally permissible for pedophiles to satisfy their sexual preferences in ways that do not involve any real children. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Out of an Old Toy ChestMarina Warner (bio)The Soul of the ToyIn Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from floor (...) to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy.The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life.That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn... (shrink)

Es gibt Gegenstände, von denen gilt, daß es dergleichen Gegenstände nicht gibt. Dieser Satz hat dem Österreicher Alexius Meinong nicht nur Berühmtheit, sondern auch vernichtende Urteile beschert. Hindern konnten sie ihn jedoch keinesfalls daran, die weltweit bekannte Schule der Grazer Gegenstandstheorie zu etablieren. Wertphilosophische, erkenntnistheoretische sowie psychologische Schriften und die Gründung des ersten experimentalpsychologischen Laboratoriums in Österreich komplettieren das Schaffen dieses Philosophen. Meinongs Lebensgeschichte ist die Verquickung der Geschichte seiner Publikationen und der akademischen Aktivitäten seiner kleinen Schule von Schülern. Platz (...) für private Belange schien in jenem Leben, das sich nahezu vier Jahrzehnte in der steiermärkischen Universitätsstadt Graz abspielte, kaum zu sein. Eine äußerst starke Sehschwäche, die Meinong vor Kollegen, Freunden und sogar seiner Frau auf ungewöhnliche Weise zu verbergen suchte, lastete schwer auf ihm. In der ersten vollständigen Biographie Meinongs zeichnet Evelyn Dölling das leidenschaftliche Ringen dieses Denkers um höchste wissenschaftliche Präzision nach. Aus der Recherche des umfangreichen Nachlaßmaterials sowie der zahlreichen Korrespondenzen (8 300 Briefe) entsteht ein Bild von Meinongs Familienleben und seinen Beziehungen zu Freunden, wie man es so bislang nicht kannte. (shrink)

Meinongs Leben vollzog sich in engen räumlichen Grenzen. Es scheint kaum von besonderen Höhepunkten gekennzeichnet zu sein. Als neunjähriger, im Jahre 1862, verließ er seine Geburtsstadt Lemberg und ging nach Wien, um dort die Schule zu besuchen und später deutsche Philologie und Geschichte zu studieren. Nach Abschluß einer Dissertation über Arnold von Brescia wandte er sich der Philosophie zu und habilitierte sich auf Empfehlung von Franz Brentano mit einer Arbeit über David Hume. Ein schweres Augenleiden, das sehr zeitig schon zu (...) einer fast vollständigen Blindheit führte und das er mit großem Erfindungsreichtum vor Familie, Freunden und administrativen Einrichtungen zu verbergen suchte, hat sein Leben maßgeblich bestimmt. Meinongs weitere akademische Karriere, die Beziehungen zu seiner Frau Doris, zu seinen Freunden und Studenten werden unter besonderer Berücksichtigung seiner Sehschwäche nachgezeichnet. (shrink)

This volume addresses the problem of how language expresses conceptual information on event structures and how such information can be reconstructed in the interpretation process. The papers present important new insights into recent semantic and syntactic research on the topic. The volume deals with the following problems in detail: event structure and syntactic construction, event structure and modification, event structure and plurality, event structure and temporal relation, event structure and situation aspect, and event structure and language ontology. Importantly, the topic (...) is discussed not only on the basis of English and German but on the basis of other languages including Mandarin, Japanese, Korean, Indonesian, and Igbo as well. This volume thus provides solid evidence towards clarifying the empirical use of event based analyses. (shrink)

The history of Japanese Zen 禪 Buddhism has been the object of research for several decades. HAKUIN Ekaku 白隠慧鶴, IKKYŪ Sōjun 一休宗純, and Dōgen 道元 are names that by now are well known within this history, and indeed, theirs are undoubtedly important biographies. At the same time, however, we may critically remark on a certain scholarly preoccupation with these figures, and this attitude owes much to hagiographies, especially those produced by SUZUKI Daisetsu. In order to attain at least a certain (...) degree of historical accuracy, Dōgen, Ikkyū, and Hakuin must necessarily be interpreted within their respective historical contexts. Hakuin’s intentions, for example, only become fully understandable against the backdrop of Zen’s stale and petrified institutionalism in the Edo period that was called into question by the Ōbaku 黄檗 school of YINYUAN Longqi 隠元隆琦, who had recently arrived from the Chinese mainland. Ikkyū, on his part, was the harshest critic of what he saw as an overly cultured, elitist, and therefore degraded, form of Zen that was, however, all-pervasive during the Muromachi 室町 era. Finally, when Dōgen came back from China, he claimed to have received the “pure, Song-style Chan” and made all efforts to implant it into Japanese soil. However, if near-contemporary sources such as the Buddhist Scripture of the Genkō Era are consulted, it becomes clear that Dōgen had almost no impact at all on his contemporaries. It is therefore appropriate to point out that while his writings have enjoyed a rediscovery and revival of stunning proportions, they seem to have remained unread and marginal throughout much of the Japanese history of thought. However, it is in that time, during the Kamakura period, that the biography of CHŪGAN Engetsu 中巖圓月 has its place. His career, as can be seen, is characterized by a prolonged period of studying with various Chan masters on the Chinese mainland and, in consequence, factional open-mindedness. His thought draws on a variety of religious and philosophical systems, such as the Classic of Changes, Daoism, Confucianism, canonical Buddhism, and Chan Buddhist iconoclastic rhetoric. In Chūgan, the upheavals that delineate Zen’s early phase in Japan from its later “Japanization” are personified. (shrink)

Zusammenfassung Der Aufsatz thematisiert die geschlechtsbezogene Kommunikation im Spitzensport. Hierzu wird nach einem knappen Forschungsbericht ein kommunikationstheoretischer Zugang gewählt. Es wird davon ausgegangen, dass es sich bei Kommunikation um keinen einfachen Übertragungsprozess handelt, sondern um ein kontingentes Geschehen, so dass es unsicher ist, dass sich die Kommunikationspartner wechselseitig voll verstehen und dass sie jeweils das tun, was der andere erwartet. Die Regulierung von Kontingenz geschieht innerhalb der Kommunikation vor allem durch die Generalisierung von Verhaltenserwartungen, also durch den Bezug darauf, was (...) in bestimmten Situationen von den Kommunikationspartnern typisch erwartet werden kann und welches Verhalten den Rahmen des „Erlaubten“ sprengen würde. An drei Beispielen aus den Sportarten Hockey, Turnen und Handball untersucht der Beitrag die Bedeutung geschlechtsspezifischer Verhaltenserwartungen in der Trainer-Athlet-Kommunikation und diskutiert deren Funktionen und Folgen im Spitzensport. (shrink)

O objetivo deste trabalho, ao aproximar a filosofia de Deleuze e Guattari da escrita literária de Paloma Vidal na obra Mar azul (2012), é propor pontos de contato em meio a um campo de interesse dos autores (a saber, a literatura), culminando numa discussão possível das figurações do estupro na literatura. Para tanto, buscou-se apresentar o romance atrelando-o aos conceitos de desterritorialização e reterritorialização a fim de se pensar a produção da mulher-corpo em detrimento da mulher-mente, bem como noções de (...) rostidade e plano de imanência em meio ao que poderíamos chamar de "cultura do estupro". Em seguida, discute-se o conceito de "corpo sem órgãos" a partir do campo literário e suas estratificações canônicas.Palavras-chave: Narrativas de estupro. Literatura brasileira. Filosofia francesa contemporânea. (shrink)

Volume 20, Issue 9, September 2020, Page 78-80.

This paper has two main foci: the history of curriculum design, and implications from the new sciences of chaos and complexity for the development of new forms of curriculum design and teaching implementation. Regarding the first focus, the paper posits that there exist—to use Wittgenstein's phrase—‘family resemblances’ between Peter Ramus’ 16th century curriculum design and that of Ralph Tyler in the 20th century. While this 400‐year linkage is by no means linear, there are overlapping strands from Ramus to Comenius to (...) the Puritans to colonial New England to Horace Mann to Ralph Tyler. What unites these strands, all belonging to the Protestant Methodization movement that swept across northern Europe into colonial America and the USA, is the concept of Method. Taylor's ‘time and motion’ studies set the stage for Tyler's Basic Principles of curriculum design—those starting with set goals and concluding with measured assessment. The second focus draws on the new sciences of chaos and complexity to develop a different sense of curriculum and instruction—open, dynamic, relational, creative, and systems oriented. The paper concludes with an integration of the rational/scientific with the aesthetic/spiritual into a view of education and curriculum informed by complexity. (shrink)

In Anknüpfung an eine Arbeit von 2006 zur Frequenzvereinbarung am Behandlungsbeginn greifen die Autorinnen das Thema des Settings und des Handlungsdialogs erneut auf, diesmal anhand eines Behandlungsverlaufs. Bei Patienten, die frühe Traumata erlebt haben, die nicht erzählbar sind, weil sie vor der Zeit liegen, in der das autobiographische Gedächtnis etabliert ist, spielt die Angstregulierung eine fundamentale Rolle. Hochfrequenz kann bei diesen Patienten Ängste auslösen, die als nicht steuerbar erlebt oder befürchtet werden. Ein niederfrequentes Setting ist hier oft – vor allem (...) am Beginn der Behandlung – das, worauf Analytiker und Patient sich verständigen können. Ein Frequenzwechsel wird möglich, wenn Fortschritte in der Symbolisierungsfähigkeit es erlauben, dass Ängste als solche wahrnehmbar und nicht mehr überwiegend agiert oder somatisiert werden. Dieser Entwicklungsprozess wird ausführlich an einer Behandlung dargestellt, die in wiederholten Intervisionen begleitet wurde. (shrink)

For women in the former GDR, daily life has changed since the unification of the two German states. With the example of diary excerpts from the autumn of 1990, written by two women, both at that time in their early 50s and having worked full time all their lives, the question is explored how women from different social backgrounds experience the changes that have affected their daily lives, how they assess their past, approach their new living conditions, cope with the (...) demands made of them and, with the aid of examples of the symbolic division of the sexes, interpret their - changed - roles in the new social arena. (shrink)

Crocodile starts with Rob and Mia having a night out that ends tragically with Rob hitting and killing a cyclist. In a panic, they hide the body and don't report the accident. Years later, racked with guilt, Rob contacts Mia to tell her he's decided to anonymously report the accident so the cyclist's family can get closure. Mia panics, worried that the consequences would be dire for her, her family, and her reputation. In the rest of the episode, Mia takes (...) a series of actions to protect the life she's built. This chapter utilizes the ethical theories of Utilitarianism, Kant, Feminist Ethics of Care, and Aristotelian Virtue Ethics to determine whether Mia's actions are justifiable forms of self‐defense. (shrink)

The transactivation response‐DNA binding protein of 43 kDa (TDP‐43) is an aggregation‐prone nucleic acid‐binding protein linked to the etiology of Amyotrophic Lateral Sclerosis (ALS) and Frontotemporal Lobar Degeneration (FTLD). These conditions feature the accumulation of insoluble TDP‐43 aggregates in the neuronal cytoplasm that lead to cell death. The dynamics between cytoplasmic and nuclear TDP‐43 are altered in the disease state where TDP‐43 mislocalizes to the cytoplasm, disrupting Nuclear Pore Complexes (NPCs), and ultimately forming large fibrils stabilized by the C‐terminal prion‐like (...) domain. Here, we review three emerging and poorly understood aspects of TDP‐43 biology linked to its aggregation. First, how post‐translational modifications in the proximity of TDP‐43 N‐terminal domain (NTD) promote aggregation. Second, how TDP‐43 engages FG‐nucleoporins in the NPC, disrupting the pore permeability and function. Third, how the importin α/β heterodimer prevents TDP‐43 aggregation, serving both as a nuclear import transporter and a cytoplasmic chaperone. (shrink)