Marcel Proust, as a writer, was even more, shall we say , “steeped” in literary work by others than were so steeped such equally “classic,” as they are by now called, or “canonical” twentieth-century novelists as James Joyce, who, like Proust, seems to have had but in fact did not have a photographic memory, and Vladimir Nabokov, who did have one, or than are such literary critics as ..

This paper presents a sequential search model where consumers look for several products and multiproduct …rms compete in prices. In such a multiproduct search market, both consumer behavior and …rm behavior exhibit di¤erent features from the single-product case: a consumer often returns to previously visited …rms before running out of options; and prices can decrease with search costs and increase with the number of …rms. The framework is then extended in two directions. First, by introducing both single-product and multiproduct searchers, (...) the model can explain the phenomenon of countercyclical pricing, i.e., prices of many retail products decline during peak-demand periods. Second, by allowing …rms to use bundling strategies, the model sheds new light on how bundling a¤ects market performance. In a search environment, bundling tends to reduce consumer search intensity, which can soften competition and reverse the usual welfare assessment of competitive bundling in a perfect information setting. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 216-223 [Access article in PDF] Notes and Fragments Genre Fiction and "The Origin of the Work of Art" Nancy J. Holland I FIRST, A CONFESSION. Like, I suspect, many of my readers, I am an unpublished fiction writer. Unlike most of the closet fiction writers in academia, however, I write genre fiction. The question that immediately follows is how that writing is related (...) to the intellectual work I do in philosophy.This question, of course, is open to a broad range of answers, from the possibility that the two aren't related at all, to potential Freudian answers it might take years of therapy to unearth. Teaching informs one's life, however, as much as the reverse, and in teaching Martin Heidegger's "The Origin of the Work of Art" to my Metaphysics class last year, I began to understand at least one dimension of the appeal that writing genre fiction has for me as a philosopher.But first, let me explain what I mean by genre fiction. In what follows, I will be referring primarily to four forms of genre fiction that have clear roots in the nineteenth century in Western Europe and North America: two gender-segregated genres, the western and the romance, and two gender-marked genres, science fiction and detective novels. I will be comparing these to two other forms of "popular culture" that also developed in the nineteenth century and have, I would argue, similar relationships to the older, more "legitimate," more elite art forms which they closely resemble: photography 1 and popular music, [End Page 216] especially those forms of popular music such as ragtime, blues, jazz, and rock that are informed by the African-American experience in the United States. 2These "low brow" art forms all appear to have arisen out of the growth of the middle class in developing parts of the world during the nineteenth century and the correlative confluence of greater leisure, greater aggregate prosperity, and higher levels of education across a broader spectrum of society. Further, these art forms all combine the surface appearance of their respective "high brow" correlate arts with the reassurance of repetition that is the cornerstone of the folk arts with which they are also correlated. Each of these forms of popular culture balances itself, then, between a demand for more and more "works of art" (and/or class aspirations based on the appearance of such) and a demand for the familiar in a rapidly changing, materially challenging world.Thus, photography gives us a frozen and thereby purified visual reality, an icon of memory to which we can return at will. The truth it reveals is most often starker than that of folk painting and portraiture, but also gives the appearance of being free from the subjectivity of the artist. Great iconic photographs such as the kiss on V-E day, I have heard it said, become more real than the reality they encapsulated.Popular music similarly combines often amazing musical complexity (which is not unknown, although rarer, in western folk music) with the reassurance of a form that not only repeats itself within a song, but also between songs of the same genre. Thus, blues can be recognized by both the minor chords in its melodies and the characteristic rhyme pattern of its lyrics. Moreover, most western popular music, even to some extent free-form jazz, has a familiar and reassuring beginning-middle-end structure, both melodically and dynamically, that locates a listener immediately within the song's "story-arc." 3This same beginning-middle-end structure is one clear hallmark of genre fiction. Another is repetition. We all immediately know the plot of a detective novel or science fiction adventure: where it will begin, what the key stages of the story will be, and how it will end—not just happily, but with a specific form of reassuring outcome, be it the victory of well-intentioned intelligence over cunning evil or humanity's ability to survive even the most alien (and so most familiar) of threats. At... (shrink)

El propósito de este ensayo es mostrar que el fenómeno globalizador impulsado desde Occidente, ha venido configurando un escenario, que amenaza reducir lo identitario a una lógica de guerra entre lo propio y lo ajeno. Además, se muestra a Occidente desde otras voces, cuyos argumentos de resistencia a toda visión reduccionista de la experiencia humana cuestionan la universalización monologizante de Occidente, y nos instan a revalorizar nuestros legados culturales e identitarios más próximos, y a redescubrir lo comunitario como un espacio (...) de encuentro y potenciación de aquellas necesidades y expresiones más constitutivas de lo humano. (shrink)

Some brain injured patients are left in a permanent vegetative state, i.e., they have irreversibly lost their capacity for consciousness but retained some autonomic physiological functions, such as breathing unaided. Having discussed the controversial nature of the permanent vegetative state as a diagnostic category, we turn to the question of the patients’ ontological status. Are the permanently vegetative alive, dead, or in some other state? We present empirical data from interviews with relatives of patients, and with experts, to support the (...) view that the ontological state of permanently vegetative patients is unclear: such patients are neither straightforwardly alive nor simply dead. Having defended this view from counter-arguments we turn to the practical question as to how these patients ought to be treated. Some relatives and experts believe it is right for patients to be shifted from their currently unclear ontological state to that of being straightforwardly dead, but many are concerned or even horrified by the only legally sanctioned method guaranteed to achieve this, namely withdrawal of clinically assisted nutrition and hydration. A way of addressing this distress would be to allow active euthanasia for these patients. This is highly controversial; but we argue that standard objections to allowing active euthanasia for this particular class of permanently vegetative patients are weakened by these patients’ distinctive ontological status. (shrink)

The aim of this paper is to illustrate four properties of the non-relativistic limits of relativistic theories: that a massless relativistic field may have a meaningful non-relativistic limt, that a relativistic field may have more than one non-relativistic limit, that coupled relativistic systems may be "more relativistic" than their uncoupled counterparts, and that the properties of the non-relativistic limit of a dynamical equation may differ from those obtained when the limiting equation is based directly on exact Galilean kinematics. These properties (...) are demonstrated through an examination of the non-relativistic limit of the familiar equations of first-quantized QED, i.e., the Dirac and Maxwell equations. The conditions under which each set of equations admits non-relativistic limits are given, particular attention being given to a gauge-invariant formulation of the limiting process especially as it applied to the electromagnetic potentials. The difference between the properties of a limiting theory and an exactly Galilean covariant theory based on the same dynamical equation is demonstrated by examination of the Pauli equation. (shrink)

Even as the philosopher can show us how to treat an object conceptually as a work of art, by regarding it in some context, so Cavell constantly implies that there are parables to be drawn about the way we treat the objects of our consciousness and the subjects of parts of it. But this special sort of treatment—like projective imagination itself—is not fancy or wit but more like a kind of epistemological fabling that is close to what Shelley called, in (...) A Defense of Poetry, "moral imagination." What is so powerful—and yet elusive of the nets of ordinary intellectual expectation—in The Claim of Reason is the way in which the activities of philosophizing become synecdochic, metonymic, and generally parabolic for the activities of the rest of life itself. It is the way in which the large , unphilosophical, "poetic," or "religious" questions are elicited from their precise and technical microcosms that makes so much of this book poetical, but not "literary," philosophy. When he writes of how tragedy "is the story and study of a failure of acknowledgment, of what goes before it and after it—i.e., that the form of tragedy is the public form of skepticism with respect to other minds"; or when, after brilliantly adducing The Winter's Tale in his consideration of Othello, he confronts the magic of Hermione's statue coming to life, he observes that "Leontes recognizes the fate of stone to be the consequence of his particular skepticism," the reader can perceive the kind of vast fiction in which minds, bodies, the privacy of insides, dolls, statues, and other representations figure as agents and elements. It will take longer to understand, I think, the imaginative significance of the earlier portions of the book. The philosophers who find its terrain familiar tend to have little patience with poetry; the reader whose sensibility is "literary" may be unable to distinguish between the arguments and examples, and the meta-arguments and examples, of the discussions of Wittgensteinian and Austinian method. Both kinds of readers should keep at it. John Hollander, a distinguished poet and critic, is professor of English at Yale. The author of The Untuning of the Sky: Ideas of Music in English Poetry, 1500-1700, Vision and Resonance: Two Senses of Poetic Form, and The Figure of Echo, his books of poetry include Spectral Emanations and Blue Wine and Other Poems. (shrink)

ABSTRACTIn this article, the second of a series of four articles that engage critically with the arguments of two recent and significant additions to the literature on critical realism (Bhaskar’s E...

In a recent article in this journal I presented a sceptical argument about the current prominence of virtue ethics in nursing ethics. Daniel Putman has responded with a defence of the relevance of virtue in nursing. The present article continues this discussion by clarifying, defending, and expanding the sceptical argument. I start by emphasizing some features of the sceptical case, including assumptions about the nature of sceptical arguments, and about the character of both virtue ethics and nursing ethics. Then I (...) respond to objections of Putman's such as that, according to virtue ethics, virtue is relevant to the whole of a human life, including one's behaviour in a professional context; and that eudaimonia should be central in explaining and motivating a nurse's decision to enter the profession. Having argued that these objections are not compelling, I go on to discuss an interesting recent attempt to reassert the role of virtue ethics in the ethics of professions, including nursing. This centres on whether role‐specific obligations – e.g. the obligations that arise for a moral agent qua lawyer or mother – can be accommodated in a virtue ethics approach. Sean Cordell has argued that the difficulty of accommodating role‐specific obligations results in an ‘institution‐shaped gap’ in virtue ethics. He suggests a way of meeting this difficulty that appeals to the ergon of institutions. I endorse the negative point that role‐specific obligations elude virtue ethics, but argue that the appeal to the ergon of institutions is unsuccessful. The upshot is further support for scepticism about the virtue ethics approach to nursing ethics. I end by gesturing to some of the advantages of a sceptical view of virtue ethics in nursing ethics. (shrink)

The recent genome sequencing of a non‐vertebrate deuterostome, the ascidian tunicate Ciona intestinalis, makes a substantial contribution to the fields of evolutionary and developmental biology.1 Tunicates have some of the smallest bilaterian genomes, embryos with relatively few cells, fixed lineages and early determination of cell fates. Initial analyses of the C. intestinalis genome indicate that it has been evolving rapidly. Comparisons with other bilaterians show that C. intestinalis has lost a number of genes, and that many genes linked together in (...) most other bilaterians have become uncoupled. In addition, a number of independent, lineage‐specific gene duplications have been detected. These new results, although interesting in themselves, will take on a deeper significance once the genomes of additional invertebrate deuterostomes (e.g. echinoderms, hemichordates and amphioxus) have been sequenced. With such a broadened database, comparative genomics can begin to ask pointed questions about the relationship between the evolution of genomes and the evolution of body plans. BioEssays 25:529–532, 2003. © 2003 Wiley Periodicals, Inc. (shrink)