Sounding the Abyss achieves an analysis that extends Cavell's already rich range of work into surprising new directions in postcolonialism, multiculturalism, and general cultural criticism. The work never strays from its concern with reassessing the divide between philosophy's analytic and Continental factions.

With an upsurge of interest and investment in new legal technologies comes consideration of who is making them and whether these individuals or entities should be subject to regulation. This article looks at how such regulation might function in light of the existing regulatory regimes governing lawyers and the capacities of legal regulators. It considers the ramifications both of maintaining the existing system, or in extending some form of regulation to these new entrants to the legal services market.

A defense of the translation of "bedeutung" by "meaning" in frege's "posthumous writings" (blackwell 1979). Objections made to such renderings as 'denotation' and 'reference'.

La réédition par Denise Karnaouch du livre de Marguerite Bodin, L’Institutrice, mérite d’être signalée, tant la vie de cette pédagogue féministe et syndicaliste peut nous éclairer sur les combats autour du travail et de l’éducation des femmes au début du xxe siècle. Publié en 1921 dans la nouvelle collection « La bibliothèque sociale des métiers » du socialiste Georges Renard, L’Institutrice présente, quarante ans après les lois républicaines instaurant la gratuité, l’obligation et la laïcité...

Domino's Pizza is testing “Domicopter” drones to deliver pizzas, which will compete with Taco Bell's “Tacocopter” drones. Not to be outdone, Amazon is working on an army of delivery drones that will cut out the postal service. In Denmark, farmers use drones to inspect fields for the appearance of harmful weeds, which reduces herbicide use as the drones directly apply pesticides only where it is needed. Environmentalists send drones into glacial caves or into deep waters, gathering data that would (...) be too dangerous or expensive for human scientists to procure. Federal Express dreams of pilotless aerial and terrestrial drones that will transport goods more cheaply, reliably, and safely than vehicles operated by humans. Human rights activists deploy drones over conflict zones, intelligently searching for and documenting abuses for both rhetorical and legal purposes. Aid agencies send unmanned drones to villages deep in jungles or behind enemy lines, maneuvering hazardous terrain to bring food and supplies to endangered populations. Medical researchers are experimenting with injecting drone blood cells into humans that can mimic good cholesterol carriers or identify and neutralize cancerous cells. Parents in Vermont are using flying drones to accompany children to school, giving a whole new meaning to helicopter parenting. And Pilobolus, a New York dance company, has choreographed a dance in which drones and humans engage each other in the most human of acts: the creation of art. (shrink)

But while the literature of art is, in publishers' terms, booming, it has in one respect suffered a loss. During the past two hundred years there has usually been some important figure who acted as a censor and an apologist of the contemporary scene, a Diderot, a Baudelaire, a Ruskin or a Roger Frye. Who amongst our living authors plays this important role? What name springs to mind? I would suggest that no name actually springs; the last of our (...) grandly influential critics was Sir Herbert Read and since his death, whatever else modern art may or may not possess, it has no prophet. This is not to say that aesthetic prophets are necessarily desirable nor that there are not some very conscientious and extremely perceptive critics at work today; in view of the fact that I am within a fortnight exhibiting my work in a London dealer's gallery , it would be folly to deny it. But it is I believe true that for better or for worse we have no grand pundit of living art and I believe that this lack may be concerned with what I see as a certain diminution in the role of the art critic, a certain decay in this department of literature. It is a tendency which I regret and the causes of which I want to try to discuss. It arises I believe from a misunderstanding concerning the proper functions of the critic and this confusion of purpose will be my theme. First, however, I think that I should glance at two important circumstances which make the work of an art critic particularly difficult today. Quentin Bell, professor of the history and theory of art at Sussex University, has written Virginia Woolf: A Biography, Of Human Finery, Ruskin, Victorian Artists, and, Bloomsbury. His article, "Art and the Elite," appeared in the first issue of Critical Inquiry. "The Art Critic and the Art Historian" was originally delivered as the Leslie Stephen lecture at the University of Cambridge on November 26, 1973. Other contributions are "CRITICAL RESPONSE: Notes and Exchanges" , and "Bloomsbury and 'the Vulgar Passions'". (shrink)

Dans La Beauté rationnelle, en 1904, Paul Souriau défend le réalisme esthétique, selon lequel les choses possèdent bien la propriété d’être belles si elle leur est attribuée à juste titre. Il défend aussi le rationalisme esthétique, selon lequel nous pouvons savoir si une chose est belle ou non. Ce sont deux thèses généralement rejetées dans l’esthétique au xx e siècle. Comme l’est aussi, le plus souvent, l’affirmation d’une valeur morale de la beauté que Souriau défend en insistant sur la question (...) de savoir ce que nous devons admirer. Après avoir expliqué ces thèses, l’article indique une source possible de ce réalisme : une esthétique classique, à la française, qui se trouvait chez Cournot ou, encore auparavant, chez La Bruyère. (shrink)

Lauréate du prix Mnémosyne en 2016, Pauline Mortas démontre dans ce livre issu de son mémoire de master 2 une belle capacité à traquer la multiplicité des représentations entourant « la première fois » au xixe siècle. Puisant dans des sources issues du milieu ecclésial comme du milieu médical, du roman de mœurs comme de la pornographie, sans oublier les traités d’éducation ou les jugements rendus dans les tribunaux, l’historienne confirme par cette multiplicité de regards ce que Michel Foucau...

It is common to assume that if Locke is to be regarded as a consistent epistemologist he must be read as holding that either ideas are the objects of perception or that (physical) objects are. He must either be a direct realist or a representationalist. But perhaps, paradoxical as it at first sounds, there is no reason to suppose that he could not hold both to be true. We see physical objects and when we do so we have ideas. We (...) see or hear birds and bells but we also have visual and auditory ideas of birds and bells. This suggestion is explored through examination of what Locke says about perception in his Elements of Natural Philosophy and the accounts offered both by Locke in the Essay Concerning Human Understanding and by some of Locke's successors. (shrink)

Dans ce livre fort documenté – et avec de belles photographies à l’appui –, l’historien australien Tim Allender analyse l’enseignement féminin dans l’Inde coloniale entre 1820 et 1932. Les termes du titre indiquent l’ambition : il ne s’agit pas seulement d’étudier l’essor d’établissements pour les filles, mais aussi de s’interroger sur les apprentissages sexués et leur évolution dans le temps. Les filles et les femmes qui apprennent dans ce livre sont aussi bien des Indiennes que des Eurasien...

« L'éducation d'une femme peut se comparer à une machine compliquée, toute composée de contrepoids [...] il faut la combinaison la plus ingénieuse et la plus savante pour que tout se maintienne dans un équilibre parfait » (1805). Cette belle image de Madame de Genlis, gouvernante des enfants de France et écrivain prolifique de romans éducatifs, résume bien, comme le remarque Jeanne Goldin, non seulement le discours féminin sur la femme, mais aussi tout un discours pédagogique au XIXe s...

When the Bloomsbury critics, Roger Fry and Clive Bell, introduced an aesthetically-conservative English public to recent Parisian avant-garde painting, they explained its disconcerting imagery by way of a late-nineteenth-century metaphysical tradition which had long intrigued musicians and Symbolist writers on the European continent. The Post-Impressionist aesthetic they devised advocated a direct response to the formal ingenuity of the work of art without recourse to prior knowledge and it emphasized the significance of visionary genius albeit to the detriment of (...) narrative acuity and technical accomplishment, values hitherto upheld by the Edwardian art Establishment. The provocation was calculated, the author suggests, and its domestic ramifications were predictable: the reaction of an Anglo-conformist public in New York, on the other hand, was anything but. Recreating an Anglo-American dialogue inspired by Fry and Bell, and framed within a period encompassing Fry's Manet and the Post-Impressionists exhibition in 1910 and Alfred Barr Jr's Cubism and Abstract Art exhibition in 1936, the author demonstrates how key components of Bloomsbury's aesthetic bypassed a pre-existent modernist practice in New York and were taken up instead by an urban intelligentsia which adapted them to the requirements of an increasingly professionalised institutional practice during the 1920s. (shrink)

En racontant de très belle manière la vie de Madame Luce, enseignante française et arabophone dans l’Algérie de la fin du xixe siècle, Rebecca Rogers enrichit les travaux, de plus en plus nombreux, sur les Européennes installées dans la colonie dans les premières décennies de la colonisation. Centré sur une femme ordinaire, qui a laissé peu de traces dans les archives publiques, ce travail est en réalité une étude plus large, consacrée à l’histoire sociale des changements de pratiques éducati...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Roger Bacon and the Origins of “Perspectiva” in the Middle Ages: A Critical Edition and English Translation of Bacon’s “Perspectiva” with Introduction and Notes by David C. LindbergJeremiah HackettDavid C. Lindberg. Roger Bacon and the Origins of “Perspectiva” in the Middle Ages: A Critical Edition and English Translation of Bacon’s “Perspectiva” with Introduction and Notes. Oxford: Clarendon Press, 1996. Pp. cxi + 411. NP.This new critical (...) edition of the Perspectiva (= Opus maius, Part Five) of Roger Bacon is a landmark in Roger Bacon studies and in medieval philosophy. One needs to be able to depend on critical texts. In the case of Bacon’s Perspectiva, no such printed text existed. Professor David C. Lindberg in this new critical edition of the Perspectiva has rectified this absurd situation. And he has done a magnificent service to scholarship. He has produced the first adequate text and translation of this major philosophical text by Roger Bacon. To appreciate his achievement, a review of the previous editions is in order.Prior to Lindberg’s critical edition, there have been three Latin editions: Combach (1614), Jebb (1733, 1750), Bridges (1879 Bridges (1900). Combach used a single Oxford manuscript which is no longer extant. Jebb claimed to have used four manuscripts, but appears to have relied on Combach’s text. In 1897, Bridges used two manuscripts (Dublin and Oxford) and consulted three others. These two Mss. were late and not very reliable. Lindberg’s judgment on the inadequacy of these editions, especially that of Bridges, is, alas, only too true: “My text, found below, corrects the texts of Combach, Jebb, and Bridges in perhaps a thousand readings (my italics)—many of modest significance, but others crucial to an understanding of Bacon’s intent.”Further, a major difficulty arose in regard to the important geometical figures [End Page 133] which are closely linked to the argument in the text. The printed editions were much less adequate than the scribal manuscripts.There is just one translation of the Perspectiva into English, that done by Robert Belle Burke (Philadelphia, 1928). This translation, based on Bridges’s deficient text, was very unsatisfactory.Lindberg used twenty-three of the thirty-nine extant manuscripts, and has examined all of the thirty-nine manuscripts. This enabled him to identify five manuscript families. Six early manuscripts representative of the major families were used as the base text and were fully transcribed. Three manuscripts represent version 1; the four other families are represented by one manuscript each. Eight more manuscripts were used with some frequency, and sparing use was made of another nine manuscripts. A further sixteen manuscripts were not used since they were very late or were fragments.The relationship between the manuscripts is so complex that the editor declined to construct a stemma codicum. He did this with good reason. Bacon had a working practice of producing multiple versions of the same text and this makes for difficulties. In the case of the Perspectiva, however, it would appear that the major differences in text seem to be limited to the Preface and to section 1.9.1. Examples of these are provided in Appendix 1 and 2 of the edition. It would seem then that a stable text of the Perspectiva existed from the beginning, and that minor editorial changes were made only in the Preface and at 1.9.1. Further, in the introduction (xiii), Lindberg notes: “It [the Perspectiva] may have been written about 1263, as Easton guesses.” Still, a question remains open: To what extent was the text itself altered by Bacon between 1263 and 1268 in preparation for Pope Clement IV? Was there not an evolution in the text by way of correction, emmendation, addition?An examination of MS. P (Paris, Bibliothèque National, MS Lat. 7434) [= 18 in Lindberg’s list, p. ciii] would, in my estimation, provide grounds for the belief that family 5 (“Hic aliqua dicenda sunt de perspectiva”) may well be an edited version of family 1 (“Positis radicibus”). That is, the (“Hic aliqua dicenda”) may have been intended as part of the text and not just as a Preface. Further, I now believe that the traditional dating of... (shrink)

We rediscuss the Einstein-Podolsky-Rosen paradox in Bohm's spin version and oppose to it Bohr's controversial point of view. Then we explain Bell's theorem, Bell inequalities, and its consequences. We describe the experiment of Aspect, Dalibard, and Roger in detail. Finally we draw attention to the nonlocal structure of the underlying theory.

Bell argues that contempt has an important role to play in confronting and addressing immorality, and in that respect is essential to moral relations. Her book is not just a defense of contempt, but an account of the virtues and vices of it, providing a model for thinking more generally about the negative emotions as a response to vice.

Wittgenstein's contribution to musical aesthetics is not often discussed, which is surprising, given his rare musicality and musical connections. His distinctive achievement is to have focused on the question of musical understanding, and to have connected this with two other philosophical problems: the nature of the first-person case, and the understanding of facial expressions. Wittgenstein's third-person approach to philosophical psychology leads him to emphasize the role of performance in the understanding of music, and also to introduce an ‘intransitive’ concept of (...) expression. At times Wittgenstein seems to be arguing for an entirely non-relational account of musical meaning; however, a proper analysis of the first-person case shows that his theory of musical understanding might allow that, at some level, you understand a piece of music only if you imaginatively grasp the state of mind expressed by it. (shrink)

In his own time, Lao Sze-Kwang formulated his own intra-cultural approach to the philosophy of culture that begins from the interdependence and organic nature of our cultural experience. In this essay, I address three questions: Why did Lao abandon his early reliance on the Hegelian model of philosophy of culture and formulate his own “two- structured” theory? Again, given Lao’s profound commitment and contribution to Chinese philosophy and its future directions, why is it not proper to describe him as a (...) “Chinese philosopher?” And why is the much accomplished Lao Sze- Kwang not installed in the CUHK pantheon as yet one more of the great “New Confucian” philosophers (xinruxuejia 新儒學家) to be associated with this institution? (shrink)

This paper draws upon Hannah Arendt's idea of the 'right to have rights' to critique the current protection gap faced by refugees today. While refugees are protected from refoulement once they make it to the jurisdiction or territory of a state, they face an ever-increasing array of non-entrée policies designed to stymie access to state territory. Without being able to enter a state capable of securing their claims to safety and dignity, refugees cannot achieve the rights which ought to be (...) afforded to them under international law. Drawing upon both legal theory and political philosophy, this paper argues that refugees today, just as the stateless in Arendt’s time, must be afforded the ‘right to have rights’, understood as a right to enter state territory. (shrink)