Building on Pierre Simon’s notion of distality, we introduce distality rank as a property of first-order theories and give examples for each rankmsuch that$1\leq m \leq \omega $. For NIP theories, we show that distality rank is invariant under base change. We also define a generalization of type orthogonality calledm-determinacy and show that theories of distality rankmrequire certain products to bem-determined. Furthermore, for NIP theories, this behavior characterizesm-distality. If we narrow the scope to stable theories, we observe thatm-distality can be (...) characterized by the maximum cycle size found in the forking “geometry,” so it coincides with$(m-1)$-triviality. On a broader scale, we see thatm-distality is a strengthening of Saharon Shelah’s notion ofm-dependence. (shrink)

This paper reports on the experiences of international MBA students following a hybrid design for a business ethics course, which combined class-based lectures with "out-of-class" discussion supported by asynchronous communication tools. The e-learning component of the course was intended to generate discussion on the ethical assumptions of course participants, with each individual required to post a mini case study reflecting an ethical dilemma which s/he had faced at work. Using questionnaire and interview data, we report on the learning experiences of (...) participants following this experimental course. The results reveal a high level of intercultural dialogue between participants, with adopters showing greater awareness of their individual cultural biases in their case writing, a direct consequence of the on-line feedback and case discussion. These findings indicate that asynchronous tools have much to offer business ethics students, supporting ideas sharing and the exchange of cultural perspectives outside the physical boundaries of the classroom. (shrink)

To those who know little about the Middle Ages, the copying of manuscripts of “the ancients” (whether classical, such as the Roman poet Horace, or Christian, such as Saints Jerome or Augustine) often seems either a laudable act of preserving the past or an unfortunate fixation on repeating the words of others rather than penning new and original compositions. Even scholars of the Middle Ages appear sometimes more interested in new types of works such as fabliaux or courtly romances written (...) in the vernacular; when they study the practice of copying, they often concentrate on identifying prototypes or legacies. Finding old wine in old bottles has been a fairly constant theme in medieval studies; sometimes, we must admit, medievalists have just thrown out the old bottles and moved on to something completely new. In this context, it may seem strange to find a work about medieval Latin manuscript commentaries titled “The Birth of the Author,” responding to Roland Barthes's well-known essay “The Death of the Author,” published in 1984 and cited repeatedly since. What can it mean to see new, self-conscious awareness of the act of personal creation in works that are copies by scribes of other works that themselves comment on yet earlier works, often of a certain age or canonicity? Yet in this intelligent, engaging, and beautifully produced book, art historian Jeffrey Hamburger not only shows how those who wrote commentaries came to suggest that anyone who composes a work (even the scribe who copies it) could be considered a creator of meaning but also that the images in commentaries themselves sometimes make statements—indeed, statements more radical than those in the text—about the author of the work being illustrated. Long known as one of the relatively rare historians of medieval art equipped with a wide knowledge of theology and hence of how images respond to and reflect text, Hamburger here shows himself possessed of a shrewd eye for the image itself. He studies illuminated prefaces to, among other texts, the prose and poetic works of Horace as used in the medieval classroom, copies of the major biblical commentary of the High Middle Ages, the Glossa ordinaria, and Rupert of Deutz's erotically charged commentary on the Song of Songs. Changing the lens through which scholars have usually viewed such texts, Hamburger argues that images of authors of commentaries sometimes go beyond anything in the text to assert the authority not only of the author of the text commented on and of the commentator but occasionally even of the scribe.The Birth of the Author is a work of complicated analysis, and its full power demands close attention. Understanding how images construct claims that go beyond the text involves a good deal of careful looking. Hamburger is a patient and clear guide, but the reader must be prepared to flip back and forth between the magnificent colored images the publisher provides and to follow what are often painstaking arguments from comparison of small visual differences or puzzling identifications of seemingly strange details. The result of doing so is, however, to gain not only the reward of Hamburger's ingenious conclusions but also a lesson in how to look. For example, in a discussion of Gilbert Universalis's commentary on the Lamentations of the Hebrew prophet Jeremiah, Hamburger shows how Gilbert not only identifies Jeremiah as a “divine rhetorician” but also assimilates his own act of authorship to Jeremiah's prophetic speech. In the only extant copy of Gilbert's text that has a program of illustrations, the artist constructs both Jeremiah's speech and Gilbert's interpretation as similar acts of creation by framing both authors in parallel architectural images that evoke the Old Testament temple and a Christian church. Or to give a final example of Hamburger's interpretive reach: the book concludes not with yet another medieval preface but with an example of the far less usual manuscript epilogue. Here not only commentator, scribe, and illustrator but even the medieval reader construct themselves. Reception becomes interpretation, illustration becomes construction. In a commentary by the Carolingian figure Sedulius Scotus (fl. 840–60) on the Roman grammarian Donatus (mid-fourth century), the illustrator depicts Donatus as author and scribe (thus assimilating author into copier and vice versa). On the same folio, a later medieval reader constructs himself as reader/author in a charming marginal doodle that seems to entrap Donatus in a sort of hangman's noose. Thus, a bit wryly perhaps, Hamburger—himself teacher, commentator, and consummate scholar—seems to suggest that even frustrated students can construct themselves as interpreters and, yes, authors. Behind the seeming repetition and backward glance of the images in medieval commentaries lies radical and forward-looking self-awareness of the acts of authoring, interpreting, reading, and imagining. In Hamburger's analysis, the most seemingly conventional of medieval genres—the preface to commentaries on the texts of others—is a locus of the birth in illustration of the self-conscious and self-expressive author and reader. (shrink)

The issues that Foucault raises about reception and reading are certainly part of the contemporary discussion of literature. However, they are not the only issues with which we, as today’s readers, are concerned. Discussions about the role of the author persist and so we continue to have recourse to the notion of authorship.For instance, in her recent book Sexual / Textual Politics , the feminist critic Toril Moi feels called on to return to these twenty-year-old issues in French theory to (...) tell us what it has meant to speak of the author, when she says: “For the patriarchal critic, the author is the source, origin and meaning of the text. If we are to undo this patriarchal practice of authority, we must take one further step and proclaim with Roland Barthes the death of the author.”3In the course of this essay I wish to reopen the question of whether it is advisable to speak of the author, or of what Foucault calls “the author function,” when querying a text, and I wish to reopen it precisely at the site where feminist criticism and post-structuralism are presently engaged in dialogue. Here in particular we might expect that reasons for rejecting author erasure would appear. However, theoretically informed feminist critics have recently found themselves tempted to agree with Barthes, Foucault, and the Edward Said of Beginnings that the authorial presence is best set aside in order to liberate the text for multiple uses.4 4. See Edward W. Said, Beginnings: Intention and Method , p. 162. Cheryl Walker is professor of English and humanities at Scripps College. She is the author of The Nightingale’s Burden: Women Poets and American Culture before 1900 and Masks Outrageous and Austere: Culture, Psyche, and Persona in Modern Women Poets . She is currently editing an anthology of nineteenth-century women poets and a book of essays about feminist criticism in the wake of post-structuralism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Author, AuthorBernard KnoxThe title of this essay is not a reference to that enthusiastic but misguided shout from his friends in the audience at the St. James Theatre in 1895 that brought a reluctant Henry James to the stage at the end of his play Guy Domville, only to be greeted by whistles, shouts, and insults from the irate denizens of the gallery, one of whom had somewhat spoiled (...) the dramatic effect of the actor’s climactic line—“I am the last of the Domvilles”—by shouting: “And a bloody good thing y’are!” My title is the rubric of an infuriating competition that appears every week in the pages of the London Times Literary Supplement; it offers three quotations, all dealing more or less with the same subject, and defies the reader to identify the authors. Since the fiends who concoct these puzzles have carefully avoided passages likely to turn up in anthologies, having, in fact, ransacked their authors’ lesser-known works for texts innocent of such clues as proper names, dates, or allusions to historical events, the reader unwise enough to take a hand in the game has to rely on indications of the personality of the author.Not, obviously, the historical, biographical personality, but the literary personality: the characteristic attitudes and concerns, the rhythms, tones, and levels of discourse, the literary individuality that enables us to distinguish a paragraph of Jane Austen from one of Henry James, and either of them from one of Ernest Hemingway, or the epic blank verse of Milton from that of Keats or Tennyson. This literary identity is now the target of academic assaults from many quarters, of which I propose to single out two in particular—the Roland Barthes-Derrida denial of authors’ identity or even of their existence, and the New [End Page 76] Historicism, which confines that identity to the stringent limitations of the author’s time and place.The first aberration treats the author’s work as a “text,” material for the discovery of intertextuality, subtext, and—a word that I have not seen in print but that, if not yet born, is surely close to delivery from the womb of the goddess Terminologia—metatext, which, on the analogy of “metatheater,” would denote a text discussing its own textuality. In the deconstruction of the text the author disappears; Barthes in fact proclaimed the “death of the author.” But though such theories are usually thought of as French products of the Sixties and Seventies, their origins can be discerned in much earlier work done by Americans in the Forties, the years that saw the birth of that New Criticism which Norman Fruman recalls in his short history of our association, reasserting its basic principle: that “there should be a primary focus on literature as literature and not as something else.” I am myself a child—an aging child—of the New Criticism; the first article I ever published had a title that sounds like a parody of the typical New Critical title—“The Serpent and the Flame.” The editors of the American Journal of Philology, who reluctantly accepted the article after several unsuccessful attempts to get me to tone it down, felt constrained to add to the title: “Patterns of Imagery in the Second Book of the Aeneid.”But there was one aspect of the New Criticism that disturbed me: the influential idea, expounded by a formidable member of the Yale English department, William Wimsatt, called the Intentional Fallacy, which proclaimed that “the design or intention of the author is neither available nor desirable as a standard for judging the success of a work of literary art.” Though this pronouncement was hedged about with many limitations and provisos it still seemed to me to give rein to freewheeling interpretations that eased the acceptance of the radical hijacking of the author’s work by Derrida, Barthes, Lacan, and hoc genus omne.I was especially disturbed by this doctrine because, as a classical scholar, I had been very much concerned, as is every member of our discipline, with authorial intention at the basic level—the often vexed question not of what impression the author sought to make on the... (shrink)

The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original (...) essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction. (shrink)

Introduction to Engineering Ethics provides the background for discussion of the basic issues in engineering ethics. Emphasis is given to the moral problems engineers face in the corporate setting. It places those issues within a philosophical framework, and it seems to exhibit both their social importance and their intellectual challenge. The primary goal is to stimulate critical and responsible reflection on moral issues surrounding engineering practice and to provide the conceptual tools necessary for pursuing those issues. As per new ABET (...) 2000 guidelines, more and more introductory engineering courses cover engineering ethics as part of their instruction. Students preparing to function within the engineering profession need to be introduced to the basic issues in engineering ethics. This book places those issues within a wider philosophical framework than has been customary in the past and aims to stimulate critical and responsible reflection on the moral issues surrounding engineering practice and to provide the conceptual tools necessary for pursuing those issues. (shrink)

In Working Virtue: Virtue Ethics and Contemporary Moral Problems, leading figures in the fields of virtue ethics and ethics come together to present the first ...

This book sets out to generate new ways of reflecting ethically about the purposes and values of contemporary higher education in relation to agency, learning, public values and democratic life, and the pedagogies which support these.

The ancient Pyrrhonians skeptics suspended judgment about all philosophical views. Their main opponents were the Dogmatists—those who believed their preferred philosophical views. In Outlines of Skeptical-Dogmatism: On Disbelieving Our Philosophical Views, Mark Walker argues, contra Pyrrhonians and Dogmatists, for a "darker" skepticism: we should disbelieve our philosophical views. On the question of political morality, for example, we should disbelieve libertarianism, conservativism, socialism, liberalism, and any alternative ideologies. Since most humans have beliefs about philosophical subject matter, such as beliefs about (...) religious and political matters, humanity writ large should disbelieve their preferred philosophical views. Walker argues that Skeptical-Dogmatism permits a more realistic estimation of our epistemic powers. Dogmatists who believe their view is correct, while believing that two or more competitor views of their opponents are false, must—at least implicitly—take themselves to be “über epistemic superiors” to their disagreeing colleagues. Such a self-assessment is as implausible as it is hubristic. Skeptical-Dogmatism, in contrast, permits a more realistic and humbler epistemic self-conception. The author also shows that there are no insuperable practical difficulties in living as a Skeptical-Dogmatist. (shrink)

Dans cet article, l'auteur propose une étude consacrée à la passion, tout spécialement à partir d'une interrogation sur le rapport entre passion et imagination. Partant du Traité des passions de Descartes, l'auteur commence par examiner en quels termes Descartes décrit la passion comme étant ce qui "fait vouloir". Il montre ensuite que, d'après la conception cartésienne, la passion doit être assez similaire à l'imagination pour autant que l'une et l'autre induisent une modification profonde de notre rapport à la réalité. Les (...) sentiments ne nous donnent pas des objets tels qu'ils sont véritablement, mais à travers des valeurs subjectives qui les "irréalisent". Cette idée n'est rien d'autre que le lien d'étroite similitude entre le sentiment et l'imaginaire que Sartre a redécouvert dans L'Imaginaire. Après avoir discuté en détail les analyses de Sartre, l'auteur conclut en tirant quelques conséquences importantes des conceptions cartésienne et sartrienne de la passion. (shrink)

The debate on how an individual human life can be understood as being more or less meaningful has been pursued for a considerable time now. Despite extensive discussion some important aspects remain under-explored, namely the relation between meaningfulness and morality – even though many authors implicitly assume a connection between these two value dimensions. But how does morality contribute to a meaningful life? Is it a necessary condition? Or is it not necessary but sufficient or contributive? Or is there, when (...) explored further, no connection at all? This article discusses the relation between morality and meaning by outlining the central positions in the debate, explains the main arguments for and against, and offers some indications for future work in the field. (shrink)

A dynamic systems (DS) approach uncovers important connections between emotion and neurophysiology. It is critical, however, to include a developmental perspective. Strides in the understanding of emotional development, as well as the present use of DS in developmental science, add significantly to the study of emotion. Examples include stranger fear during infancy, intermodal perception of emotion, and development of individual emotional systems.

This article addresses the role of science and science advisory bodies in modeling practices for the support of policy-making procedures in the Netherlands in the field of health care. The authors show, based on a detailed investigation of a prestigious interdisciplinary modeling project in which an economic care model was developed for governmental use, that science advisory bodies are entangled with the policy actors they advise in what we call boundary configurations. Boundary configurations are strongly situated interconnections between science advisory (...) institutes and policy institutions that share a specific approach to problem definitions and methods and that are embedded in specific social, discursive, and material elements. Importantly, as the case study shows, such boundary configurations shape the kind of science, and related, the kind of social and political theories about the world, that is effectuated in modeling practices. In this case study, the boundary configuration in which economic experts and policy makers participated contributed to the articulation of health care in terms of a market-based policy program for the health care sector. (shrink)

This paper gives a short description of basic features of the dominating mindset in the Western world between the 1970s and today, often called “post-modern”, through a re-reading of John Ashbery’s poem “Self-Portrait in a Convex Mirror” . In doing so, it applies the viewpoint of an interdisciplinary history of ideas. Since collective mindsets have become the most important contextual political factors, the implications are multiple.

How is distributive justice possible with respect to immigration if political decisions about entry and membership cannot be grounded in the symmetry of a prior commonality, human or otherwise, that could guarantee reciprocal relations between members and nonmembers? This paper deals with both aspects of this question. Initially, it engages critically with Seyla Benhabib's plea for ‘dialogical universalism,’ showing why the strong discontinuity between political and moral reciprocity precludes understanding distributive justice as the process of mediating between political particularity and (...) moral universality. Subsequently, it suggests that a way out of this conceptual and normative impasse can be found in the fact that boundaries create a double asymmetry. This double asymmetry is constitutive for the ‘dia’ of the political dialogue that separates and joins members and nonmembers. This ‘in between,’ which eludes control by the parties to a dialogue, is the realm of distributive justice. (shrink)

We argue that, in all probability, the universe will become less predictable. This assertion means that induction, which some scientists conceive of as a tool for predicting the future, will become less useful. Our argument claims that the universe will increasingly come under intentional control, and objects that are under intentional control are typically less predictable than those that are not. We contrast this form of skepticism about induction, "Skeptical-Dogmatism," with David Hume's Pyrrhonian skepticism about induction.

The debate on the question of the moral status of human beings and the boundaries of the moral community has long been dominated by the antagonism between personism and speciesism: either certain mental properties or membership of the human species is considered morally crucial. In this article, I argue that both schools of thought are equally implausible in major respects, and that these shortcomings arise from the same reason in both cases: a biological notion of being human. By contrast, I (...) show to what extent being human is morally relevant in a non‐biological sense. I establish the living human form as the essential criterion for belonging to the moral community, and defend it against a number of possible objections. This new morphological approach is capable of capturing essential elements of personism and speciesism without sharing their faults, and of reconstructing widespread moral intuitions. (shrink)