In A Room of One's Own and Three Guineas, Virginia Woolf considers with energy and wit the implications of the historical exclusion of women from education and from economic independence. In A Room of One's Own, she examines the work of past women writers, and looks ahead to a time when women's creativity will not be hampered by poverty, or by oppression. In Three Guineas, however, Woolf argues that women's historical exclusion offers them the chance to form a (...) political and cultural identity which could challenge the drive towards fascism and war. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

Background and significance of research: Nurses’ awareness of professional values and how those values affect their behaviors is an integral part of nursing care. There is a large body of research on nursing professional values, however, a careful survey of the available literature did not yield any studies investigating the status of professional values in operating rooms. Objective: This study aims to investigate the perception of operating room nurses of university hospitals toward professional values. Research plan: In this cross-sectional (...) study, data were collected using Schank and Weis’s Nurses Professional Values Scale–Revised. The collected data were analyzed in SPSS version 16. Participants and settings: The 513 participants of the study consisted of operating room nurses and nurse anesthetists from six university hospitals. Ethical considerations: This study has been approved by the ethics committee of the university. Findings: The mean total professional values score of the operating room staff was found to be 100.84 ± 15.685, which indicates that the participants had a positive perception toward observance of nursing professional values in practice. The results showed that the participants considered the domains of justice and activism as, respectively, the most and the least important. The operating room staff’s overall professional values scores were not found to correlate significantly with their ages, professional experience, university majors, or attendance at ethics workshops. However, a significant difference was found between the professional values scores of the female and male staff. The professional values scores of the operating room nurses and the nurse anesthetists were not significantly different (p value = 0.494). Conclusion: Operating room staff’s awareness of professional values is essential to providing care to patients based on professional principles. Accordingly, there is need for programs to raise operating room nurses’ awareness of their professional duties and improve their professional performance. (shrink)

Na semana de Pentecostes de 1923, reuniu-se em um hotel na cidade de Ilmenau na Turíngia, região central da Alemanha, um grupo de intelectuais em um encontro que foi denominado “Semana de Trabalho Marxista” (Marxistische Arbeitswoche). Dele participaram seu idealizador – Felix Weil – e cerca de 20 pessoas. Destacaram-se entre os participantes Friedrich Pollock e Karl August Wittfogel. A intenção da “Semana de Trabalho Marxista” era discutir as obras Marxismo e filosofia, de Karl Korsch, e História e consciência (...) de classe, de Georg Lukács – autores um pouco mais velhos, mas igualmente jovens intelectuais cujas contribuições teóricas foram tidas como alento e retomada das reflexões marxistas a partir da perspectiva do jovem Marx. As ideias apresentadas por Korsch e Lukács se afastaram do marxismo clássico e ortodoxo até então em evidência na Europa Central. A “Semana de Trabalho Marxista” foi o embrião para a criação, um ano depois, do Instituto de Pesquisas Sociais, igualmente por iniciativa desses jovens e de seu mentor intelectual e agora patrono financeiro Felix Weil. Esse Instituto foi sediado como um anexo da Universidade de Frankfurt, totalmente custeado pelo aporte financeiro do pai de Felix Weil, o senhor Hermann Weil. Ao longo dos anos, o conhecimento teórico ali produzido ou a menção ao local em que esse conhecimento foi gestado se impuseram como marcas que passaram para a história do pensamento contemporâneo: Teoria Crítica e Escola de Frankfurt são nomes que praticamente se confundem quando se trata da concepção teórica produzida pelo Instituto de Pesquisas Sociais. As referências aos seus pensadores mais significativos – Theodor Adorno, Herbert Marcuse e Walter Benjamin – tornaram-se realidade a partir do momento em que Max Horkheimer chegou à posição de diretor do Instituto, em 1930, pois sob sua gestão foram formuladas as diretrizes teóricas, combinadas à realização de pesquisas empíricas com base nos métodos e campos de investigação das demais ciências parcelares (Psicologia, Sociologia, Economia, Direito etc.), em articulação com a Filosofia que caracterizam essa escola de pensamento à qual estes nomes estão umbilicalmente ligados. Sob sua “ditadura”[1] Horkheimer tentou, quando possível, conservar as diferenças de temas e objetos de estudo de cada autor, congregando os diferentes campos de conhecimento. Esses primeiros pensadores foram responsáveis por um movimento de ideias que cobriu boa parte do século XX, estendendo-se de 1930 a 1979. Uma segunda geração de teóricos ligados ao Instituto prosseguiu as reflexões iniciais, expandindo-as; outros se distanciaram delas. A teoria crítica da sociedade, assim, constituiu-se como uma fonte de pensamento e método de investigação e análise da realidade na qual fenômenos sociais, bem como determinados temas e objetos de estudo, vinculados a tal realidade, em seu movimento histórico, tornaram-se alvos de crítica permanente. Dentre tais aspectos a serem destacados, mencionamos o legado deixado pelos autores da teoria crítica – especificamente, Adorno, Horkheimer, Erich Fromm, dentre outros – de dados, discussões e análises de pesquisa empírica, de caráter interdisciplinar, voltados aos temas do autoritarismo, preconceito e formação do indivíduo sob as contradições sociais do capitalismo e seus desdobramentos histórico-sociais. Neste movimento, as ciências parcelares, já apontadas acima, tais como a Psicologia, Psicanálise, Economia, Ciências Sociais dentre outras foram convocadas como momentos teórico-metodológicos específicos para compor o projeto interdisciplinar do Instituto de Pesquisa Social, juntamente com a Filosofia, promovendo a premissa epistemológica fundamental da Teoria crítica: a pesquisa interdisciplinar. Em 2021, o Grupo de Pesquisa “Teoria Crítica e Filosofia Social”, sediado na UFU e desde 2003 registrado no Diretório de Grupos de Pesquisa do CNPq, organizou e realizou o “I Colóquio de Teoria Crítica da UFU: aporias da emancipação”. Foi a tentativa de integrar, em um evento online dos tempos da pandemia do Covid-19, as pesquisas desenvolvidas por professores da UFU espalhados em alguns de seus institutos e faculdades com outros pesquisadores do Brasil em torno das diversas possibilidades de apropriação da Teoria Crítica da Escola de Frankfurt. Os autores da primeira geração da Escola, que herdaram as reflexões e transformações históricas oriundas do Iluminismo, não apresentaram formulações unívocas ou romantizadas nas suas análises acerca dos limites da Racionalidade burguesa: suas reflexões esbarraram em dificuldades e essa constatação abre a possibilidade de se seguir problematizando, na esteira desta primeira geração, questões decisivas da teoria social nos dias de hoje. Em 2023, o encontro de Ilmenau, que foi o acontecimento propulsor da Teoria Crítica, completa 100 anos. A proposição do dossiê “Teoria Crítica 100 anos” pretende ser uma comemoração, um Festschrift ao centenário de uma data bastante emblemática e marcante para o pensamento filosófico do século XX. O núcleo do dossiê é constituído por algumas palestras proferidas no evento de 2021 que foram transformadas em artigos pelos seus apresentadores. Mais do que isso, com a intenção de ser um Festschrift representativo, o dossiê conta com a contribuição de um pesquisador internacional que não participou do evento. Por ser a Teoria Crítica uma corrente filosófica multifacetada, suas reflexões abrangem os campos da filosofia social, filosofia da história, filosofia política, estética, literatura, música, psicanálise e educação junto à teoria social. Atentos a essa diversidade, sua riqueza temática ficará preservada na proposta do dossiê. Além disso, é importante resgatar a atualidade da centenária Teoria Crítica. O dossiê é constituído por uma entrevista, seis artigos e uma tradução. O entrevistado será o professor Rodrigo Duarte, da UFMG, que fará um balanço da Teoria Crítica, sobre sua recepção no Brasil anterior a 1990 e posterior a essa data. Embora a recepção desta escola de pensamento tenha se dado já na década de 1960, por nomes como Cohn, Merquior, Kothe e Konder, a partir dos anos 1990, Rodrigo Duarte se transformou em uma das principais referências para a sua continuidade em solo nacional. Daí essa entrevista ser um reconhecimento de sua contribuição. [...] [1] A expressão “ditadura do diretor” foi o termo empregado por Horkheimer para indicar o tipo de trabalho interdisciplinar que seria desenvolvido a partir de sua gestão à frente do Instituto. (shrink)

For many of us, our relationship with the College Art Association (CAA) centers around the organization's annual meeting, that cacophonous yearly ritual that sees job applicants, panelists, and old friends and colleagues descend upon a convention hotel for one long weekend in February. The recent publication The Eye, the Hand, the Mind: 100 Years of the College Art Association, edited by former CAA executive director Susan Ball, attempts to historicize not only this event but the entire range of the (...) association's activities over its long life. Additionally, it serves as a reminder to all of us that the organization has long engaged in a wide range of pursuits that extend well beyond planning its annual conference. .. (shrink)

This chapter contains section titled: A Story of Aisling — Part Six.

You don a comfortable jacket lined with sensors and muscle-like motors. Each motion of your arm, hand, and fingers is reproduced at another place by mobile, mechanical hands. Light, dexterous, and strong, these hands have their own sensors through which you see and feel what is happening. Using this instrument, you can "work" in another room, in another city, in another country, or on another planet. Your remote presence possesses the strength of a giant or the delicacy of a (...) surgeon. Heat or pain is translated into informative but tolerable sensation. Your dangerous job becomes safe and pleasant. (shrink)

The paper arises from a shared event that turned into an experience: the finding of a childlike piece of paper on our way to a conference about philosophy in schools and how it affects our educational ideas and research practices on listening to children. Triggered by the question of what it means to listen, we are led to the exercise of self-questioning inspired by some of the authors that have already written about the topic, specifically in the context of the (...) community of philosophical enquiry. The thinking unfolds with the telling of the story about the found piece of paper, crossing different layers of questioning and trying to keep the enquiry open for the readers: what is it that we do not know about listening to children? And to what extent might that, which we do not know, be the cause of biased and adultist practices? Is it necessary to return to what philosophy is and where one can find it inside the school environment? Is it already there when the adults arrive? Are we not listening to it? Or are there specific places for philosophical conversations, such as the classroom? Is philosophy also invited to the margins of those spaces? Who decides what counts as philosophical? It is not about answering questions and giving closure to our concerns as educators and researchers, but rather sharing with the readers how even in the least suspected place - an academic event about bringing philosophy to school - one might still not be listening to children. In returning to this self-questioning movement, we want to echo some of the troubling in the thinking and practices of listening in the so-called movement of Philosophy for/with Children: this for/with phenomenon, its politics and relations; some of the assumptions that might be present in the dilemmas in practice for educators and researchers; but also its aesthetics resonances, the sheer beauty of troubling, the (out of) tune of self-questioning, the questions it raises for us as researchers and the space of doubting and uncertainty it offers, like a hesitation or a breathing space. And perhaps, we wonder, it is in-between spaces, in its cracks and transitions, that important things can find their way into our thinking and conversations about childhood. Just like a piece of paper in a hotel room. (shrink)

The current outbreak of Ebola virus infection in West Africa continues to spread. Several patients have now been treated in the United States and preparations are being made for more. Because of the strict isolation required for their care, questions have been raised about what diagnostic and therapeutic interventions should be available. I discuss the ethical challenges associated with caring for patients in strict isolation and personnel wearing bulky protective gear with reduced dexterity and flexibility, the limitations this may place (...) on available treatments and the permissibility of consequent departures from the standards of care. Restricting access to some interventions such as surgery requiring an operating room, advanced imaging, etc. is reasonable due to concern for protecting other patients, visitors and staff. Cardiopulmonary resuscitation is a special case and the implications for withholding this intervention in situations where it may be desired is discussed, especially with respect to those patients who have suspected, but not proven, infection. These same restrictions are also considered under conditions where there are scarce resources and thus limited numbers of patients may receive care. While it is to be hoped that there is only limited and sporadic infection with Ebola virus in the US, careful thought must be given to the care of these patients under the unusual circumstances demanded by their isolation. I argue that an altered standard of care is reasonable and ethically acceptable under certain conditions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nietzsche’s Reading and Private Library, 1885–1889Thomas H. BrobjerOne can easily get the impression that Nietzsche read little, especially later in his life. He criticizes reading because it is not sufficiently life-affirming and Dionysian: “Early in the morning at the break of day, in all the freshness and dawn of one’s strength, to read a book—I call that vicious!...” 1 He also criticizes it for making one reactive and forcing (...) one to be concerned with the thoughts of others rather than with one’s own:My eyes alone put an end to all bookwormishness, in plain terms philology: I was redeemed from the “book,” for years I read nothing—the greatest favour I have ever done myself!—That deepest self, as it were buried and grown silent under a constant compulsion to listen to other selves (—and that is what reading means!) awoke slowly, timidly, doubtfully—but at length it spoke again. 2This impression is strengthened by the fact that in his published books from 1885–88 very few contemporary and minor authors and books are mentioned. [End Page 663] He also explicitly claims that he read little: “It does not perhaps lie in my nature to read much or many kinds of things: a reading room makes me ill.... Caution, even towards new books is rather part of my instinct.” 3 Concretely, he claims in Ecce Homo that, “I have to reckon back half a year to catch myself with a book in my hand. But what was it?—An excellent study by Victor Brochard, les Sceptiques Grecs.” 4 As suggested in a quotation above, and as a major leitmotif in his letters, his health and especially that of his eyes is another reason to assume that he read little. This is also how most philosophers and historians have tended to treat Nietzsche—as an isolated, profound thinker.However, this impression and Nietzsche’s claims here are to a large extent incorrect. Nietzsche was, in fact, a rather substantial reader. This is true not only for his younger days but also for his last four active years, 1885–88. 5 Contrary to his claim that he is hostile to new books, he was very pleased with the large trilingual bookshop Löscher in Turin. He was a frequent and good enough customer to know its “Chef “ and to make contacts through it. 6 Nietzsche frequently used other bookshops, ordered book catalogues, and asked for recommendations of new book titles. 7 Nietzsche found some of the most important books in his life as random discoveries in bookshops, for example, those of Schopenhauer, Stendhal, and Dostoyevsky. Contrary to his claim that a reading room made him ill, he praised Turin for its good libraries, 8 and he wrote to his sister: “one cannot even with ten horses draw me to a place where, if I am correctly informed, not even a good library is to be found.” 9 Libraries were [End Page 664] important for Nietzsche’s reading, and the quality of the libraries was an important determining factor in deciding Nietzsche’s travels and places of residence. He even occasionally wrote to libraries to inquire if they were suitable for his purposes and for deciding if he would visit the town. 10 During the period 1885–88 Nietzsche used the libraries in Nice, Leipzig, Chur, Venice, Turin, and the Hotel Alpenrosen’s library in Sils-Maria. He probably also used the library in Zürich and possibly in other towns, and he planned to visit Stuttgart for the sake of its library.Nietzsche did not have a permanent address during the period discussed in this article and hence travelled frequently. But travelling was difficult for him and almost without exception made him ill, and it was more difficult still with a heavy load of books. During these years Nietzsche lived on a low pension from the University of Basel and constantly worried about his expenses. In spite of this he bought a not insignificant number of books. His private library today contains 60 books published from 1885 to 1888 and in 23 of these Nietzsche has made markings, often extensively, and from several... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 267-296 [Access article in PDF] Allegory and Democratic Public Culture in the Postmodern Era Robert Hariman The man lies on the hotel bed, clad only in his underwear, as he watches the TV screen just beyond his feet. His right hand holds the remote control, which he uses to scan through the cable channels. To his left sits Abraham Lincoln, clothed in long-sleeved (...) white shirt and black pants and reading a book. Lincoln's long, angular frame is just a bit stooped, and his brow is slightly furrowed, as if long accustomed to thinking on the edge of melancholy. Lincoln is mulling over a statement by Walter Benjamin: "Allegories are, in the realm of thoughts, what ruins are in the realm of things" (Benjamin 1977, 178). 1Seated to the man's right is a woman wearing the terry cloth bathrobe provided by the hotel. She leans slightly forward, legs crossed, as she reads the New York Times Magazine cover story about President Clinton. "Listen to this," she says with a bemused smile. "In the clutter around his desk in the Oval Office stands not a single bust of a favorite predecessor, but five: Lincoln, Teddy Roosevelt, Truman and two of F.D.R., plus a statuette of Will Rogers for good measure. If governing is choosing, this collection is a metaphor for this President's trouble with choices, and he himself allows, 'That's the story of my Presidency, that desk'" (Purdum 1996, 36).The man says nothing as he continues to watch the succession of images on the screen: a lizard flicks its tongue in the desert heat; a child in a stroller laughs as she holds a strawberry ice cream cone; a congressman in blue suit, white shirt, and red tie jabs his finger into the air as he talks earnestly; cars plastered with automotive product logos curl around a race track; Fred and Ginger swirl around the dance floor; soldiers wade ashore at Omaha Beach; the Space Shuttle lifts off; Groucho lifts his eyebrows; Regis smiles; mushrooms and peppers simmer in a pan.The succession of images could go on indefinitely. The tableau remains static. The composition is an allegory: a figural presentation that organizes multiple interpretations regarding collective experience. It also contains and comments on other forms of itself: Clinton's desk is an example [End Page 267] of the figural anecdote that has been a staple of American public address. The manifold of televisual images exemplifies the allegorical encoding that operates within postmodern art forms, including fragmentary appropriation, paratactic association, encyclopedic range, and non-linear temporality. The statement by Benjamin illuminates the nature of allegory in a specific genre and historical period, and as it is a general mode of representation, and perhaps as it is a model for all textual interpretation.The composition also evokes a set of dialectical tensions that are characteristic of both allegory in general and fundamental anxieties in the contemporary period. Past and present sit side by side, but incongruously, as if by artifice alone. So it is also with the print and visual media, which are held together by mutual competencies but otherwise in figural isolation that perhaps represents different destinies. Likewise, one might wonder about the peculiar relationship between public affairs and private life: the succession of images on the screen adhere to no hierarchy of values, no principle of loyalty or sacrifice, no basis for discerning obligations or maintaining rights, yet they are replete with the paraphernalia of these concerns, and the arrangement of figures in the room likewise is at once suggestive yet inconclusive. If this tableau contains familiar features of the mass-mediated experience that now saturates American politics, one might wonder: Is the democratic tradition in ruins?Allegories give us dynamic juxtapositions in a static frame. This principle of composition seems particularly suited to periods of cultural change. To the extent that the genre of allegory has a history, it is one of eternal recurrence at periods of loss and fragmentation produced by the expansion of a new, somewhat... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Difficult, Difficult, Lemon, DifficultMaggie TaylorI like to joke that my husband is a lemon—he suffers from manufacturing defects that prevent his body from functioning as intended. Illnesses other 40-somethings recover from quickly are things that land him in the hospital for weeks on end. So, it was no surprise last year that an epileptic seizure led to aspiration pneumonia, admission to the lCU, intubation, multisystem organ failure, and a (...) Helivac ride to a regional hospital for a higher level of care. I was told that his odds of survival were about fifty-fifty. At the time, I was training as a clinical ethics fellow, still relatively inexperienced but savvy enough to guess the true likelihood was probably lower. Doctors don’t usually like telling brutal truths to families.But the moral complexities of his treatment did not arise when he was on the verge of death. They came days later when he was getting better. He’d survived a major surgery, come off pressors, recovered from an acute kidney injury, did well on spontaneous breathing trials (SBTs), and tolerated sedation weaning. Ironically, this was the hardest part of the hospitalization for me. Some people tolerate endotracheal tubes. Others don’t. My husband is in the latter group. He’d even self-extubated on a prior hospitalization. This time, he was too weak to lift his arms. Instead of pulling at the tube taped to his face, he stared up at me with wild eyes that said I don’t know what’s happening but I hate it; make it stop.As his discomfort became more apparent, I pressed the intensivist, Dr. Roja1, about extubating. “He’s alert, following commands, and hit the benchmarks on his vent settings.”Dr. Roja responded by saying she didn’t feel my husband was ready. They would continue conducting SBTs and reevaluate the next day.She said the same thing the next day.And the next day. Then she suggested a trach evaluation. I rejected Dr. Roja’s proposed compromise. Forcefully.It wasn’t just that I had trouble seeing my husband in this state of confusion and discomfort, although I did. I also knew continued vent dependence was something he would not accept. Over the course of our relationship, we’ve talked a lot about what interventions my husband would tolerate under various circumstances. This makes sense, given my profession and his health problems. He doesn’t want to live no matter the costs, but only if he can do so without being a burden on those he loves or dependent on machinery long-term—which, for him, means a few weeks.This is what I told Dr. Roja. At least, this is what I think I told her. It’s doubtful I stated my reasoning [End Page 28] half that clearly, given my emotional, physical, and cognitive state. It had been two weeks since my husband was admitted, and I was depleted. I was living in a hotel across from the hospital, wasn’t eating, and had fallen back into the vice of smoking cigarettes. Exhaustion and stress had made me combative: I had to defend my husband against this doctor who refused to do the right thing and take the tube out.In what felt like a last-ditch effort to get me off her back, Dr. Roja suggested an ethics consult. It was embarrassing that the intensivist was the one to suggest ethics involvement. Consumed as I was by my job as my husband’s advocate, I had forgotten my actual job.The team was able to put together a family meeting within hours. Beforehand, the ethicist came to my husband’s room and introduced herself to me and my mother.“I work in ethics too, as a clinical ethics fellow,” I said.She responded: “Oh.”That was all. Not even a word, but a sound. I don’t know what response I wanted, but that wasn’t it. This made me suspicious of the process.My mother and I joined the ethicist, Dr. Roja, and a palliative care physician in the family room. Dr. Roja led with a summary of my husband’s clinical condition... (shrink)

The first part of the paper, “Foyer: feeling, look- ing, between-us” establishes the role of touch in intersubjectivity. Starting with Irigaray’s notion of the entre-nous, the “between-us,” I use touch as an example of deeply intersubjective communi- cation, an attempt to overcome estrangement. The ambiguity of touching, the physical action of touching and the affective reaction of feeling, is central to this. The second section, “Reception: receptivity, orderings of the sensible,” consolidates this experience of intersubjective touching within the confines of (...) the demarcated spatial divisions of the hotel, which leads to insights concerning the physical and psychical architecture of the archetypal hotel. We return to examine the notion of “estrangement,” questioning how and why it is altered by spatial layout and sequencing. In this section I subject the usual discussion of Freud’s unheimlich or “uncanny” to some affective spatial observations, and suggest Caillois’ idea of “psychasthenia” (1987) as a useful supplement to think about touching and feeling in the unhomely home of the hotel. The third section, “Room: the caress,” of Levinas’ notion of the caress and Irigaray’s reading of this, from which I grasp towards an ethical-affective relation of between-ness, as much through non-touching as through physical touching. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A HEIDEGGERIAN CRITIQUE OF AQUINAS AND A GILSONIAN REPLY JOHN F. X. KNASAS Center for Thomistic Studies Houston, Texas I IN HIS BOOK, Heidegger and Aquinas: An Essay on Overcoming Metaphysics, John Caputo investigates among other points a claim of Etienne Gilson's followers. Their claim is that Heidegger's charge of an oblivion or forgetfulness of being cannot be pinned on Aquinas.1 Aquinas escapes the charge because he alone in (...) the history of Western philosophy deepens the understanding of being to the level of esse. How could someone who has seized upon the fundamental principle of being be guilty of a forgetfulness of being? Caputo begs to differ. A Heideggerian would find the Gilsonian thesis unimpressive. What Aquinas has done remains too ontical, for it still deals with things and the principles of things. Something else escapes Aquinas's eye, and Caputo variously expresses the Heideggerian dissatisfaction :... esse for Aquinas means that act by which a thing comes to be " real " rather than " present " in the original Greek sense of shining and appearing, revealing and concealing.... In St. Thomas the original Greek notion of presencing as the shining in which all appearances shine, as a rising up into appearance, into manifestness, has declined into an understanding of Being as "objective presence," the presence of what is mutely there, as a sound in an empty room is thought to be" there" in naive realism and common sense.2 1 John Caputo, Heidegger and Aquinas: An Essay on Overcoming Metaphysics (New York: Fordham University Press, 1982), pp. 100-1, 117-21. 2 Ibid., p. 199. 415 416 JOHN F. X. KNASAS Also: Hence, St. Thomas takes the being, not in its very Being-that is, in its quiet emergence into manifestness-but in its character as something created.3 Then: The metaphysics of actualitas is basically at odds with the meditative savoring of the original sense of Being as presencing.4 Finally: The early Greek experience of Anwesen, of the simple emergence of things into the light, differs fundamentally from St. Thomas's metaphysics of actuality and science of first causes.5 Caputo's conclusion is that one cannot accept Heidegger's criteria of S eindenken and think that Aquinas meets them.6 But a Gilsonian might humbly take Caputo's correction and still feel constrained to note that if the issue is being in the sense of presencing, then another portion of Aquinas's philosophical doctrine becomes relevant, viz., Aquinas's elaboration of the mechanics of cognition. In sum, things are present to us insofar as our form has been informed by their forms. Formal reception of form allows us to become the really other without loss to ourselves. We are then sufficiently actuated to cause the presence of the real as the term of our cognitional activity.7 a Ibid., p. 200. ' Ibid., p. 201. s Ibid., p. 209. 6 Ibid. 7 " ••• knowing beings are distinguished from non-knowing beings in that the latter possess only their own form ; whereas the knowing being is naturally adapted to have also the form of some other thing, for the species of the thing known is in the knower. Hence, it is manifest that the nature of a non-knowing being is more contracted and limited; whereas the nature of a knowing being has a greater amplitude and extension. That is why the Philosopher says that the soul is in a sense all things." Thomas Aquinas, ST I, 14, 2c, ed. Anton Pegis, The Basic Writings of St. Thomas Aquinas (New York: Random House, 1945), Vol. I, p. 136. On the Aristotelian background, see Joseph Owens, " Aristotelian Soul as Cognitive of Sensibles, Intelligibles and Self," Aristotle: The Collected Papers of Joseph Owens, ed. John R. Catan (Albany: State University of New York Press, 1981), pp. 81-98. A GILSONIAN REPLY TO HEIDEGGER 417 Once more, however, I believe that we have philosophers speaking past each other. For Heidegger believes that presencing requires an understanding of being as an a priori condition. Many texts to this effect exist. One of the most striking is from Heidegger's The Basic Problems of Phenomenology (1927). I would like to quote it at length. In... (shrink)

“Biography” is a sober, precise and modern word. Like other words formed from a Greek root, it has a competent and knowing air. It makes a good appearance in the summary of reviews, on the platform at conferences, between “biology” and “bibliography,” between “necrology” and “radiography,” in that scientific elite of the lexicon that travels in “business” class from one language to another, always at home in the time belts, hotel lobbies, conference rooms or amphitheaters. Compared with this prosperity, (...) the word “Life” is old-fashioned, a poor relative doomed to retirement homes. In the period between the two wars it disappeared from bookstore windows and book jackets. The hesitations of André Maurois, the author of Aspects de la biographie (1928), are characteristic of a transition: he wavered between La Vie de Disraeli (1927), Ariel ou la vie de Shelley (1923), Prométhée ou la vie de Balzac (1965) and Byron (1930). We sense that the title Vie was on the way out or had to yield to a proper name or an allegorical figure. However, it was a word in good standing, nobly Latin in origin, as great a signore in its class as those Massimi or Colonna who claimed their ancestors were mentioned by Titus Livy. Its genealogy is still more ancient, if we recall that its metonymic and literary meaning in Latin is a translation of the Greek word Bios, which the Hellenes, inventors of the genre and who had a more pedantic use of their language than we do, were content to use up until the end. “Biography,” according to Liddell-Scott, is not found in Antiquity except in a very late neo-Platonian, Damaskios, who put this humorless escogriffe into circulation when twilight was descending on the Roman Empire, between the 5th and 6th centuries A.D., at the dawn of the Middle Ages. It made its entrance into modern languages in the last quarter of the 17th century, when the humanism of the Renaissance was coming to an end, and the Enlightenment was beginning its rise. This late and ill-boding word began a slow ascension, long delayed: it did not come into usage outside the circles of antiquarians until the 19th century. The old word “Life” proudly kept its importance until the ‘20s of our era in the particularly conservative language of titles of works. Its definitive effacement to the profit of “biography” brought that of the word “memoirs” or the word “confessions,” which yielded to “autobiography,” while “hagiography” without being able to impose itself so well in usage, took much gravity and credibility away from the “Lives of the Saints.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Now?Mike AbellThe cry broke the church’s uncomfortable silence. It actually was more of a moan than a cry. It was deeper, coming from her core. I’d heard it only once before and knew it as a sound caused by a loss that will never be recovered. No one in the church had to turn to discover its source. We all knew the mother had entered to say goodbye (...) to her 19–month–old son.We watched as the now composed mother, along side her husband, followed the small casket—a family rendered incomplete. As they passed our pew, my wife clutched my arm and we wept tears of sympathy, guilt and fear.Just 15 months earlier our now, 2–and ½–year–old son, Jun, had been diagnosed with a brain tumor not dissimilar from the child in the casket. The tumor has a different name, but it’s equally complicated, and comparably rare and aggressive.Over nine months, Jun endured two craniotomies, three rounds of induction chemo, three rounds of high dose chemo with stem cell rescue, 28 days of proton radiation, a sub–dural shunt placement, a port placed and removed, a broviac placed and removed and many, many blood and [End Page 16] platelet transfusions. As of his last scan, there was no evidence of tumor.Jun has now been out of treatment for six months. His hair has grown back. He’s stronger. The meals have stopped arriving. And we no longer are the recipients of sad eyes at playgrounds and restaurants.In many ways we have returned to a somewhat normal life. If you didn’t know Jun was in remission for a brain tumor, you wouldn’t know. Despite all this, cancer still strangles us with fear.Brain tumors often come back. Too often. We’ve heard a few different numbers on the likelihood. And while we’ve never paid too much attention to statistics, they are too scary to ignore. Especially knowing that should it recur, there is no cure. This is our day–to–day reality.A lot of our time is spent analyzing, over analyzing and obsessing. We watch him closely. Every time he stumbles, coughs, or sleeps fifteen minutes longer than normal, we wonder if it’s something more. I’ve called our oncologist about a 99–degree temperature. Something I wouldn’t have done during treatment (I usually waited to 100). I’ve questioned whether hiccups are a sign of recurrence. Admittedly, I’ve even Googled that last one just to be sure.All the anxiety builds the closer you get to an MRI date. My son has scans every three months so I’m beginning to recognize the cycle. It starts a couple weeks out. Normally it begins as a twinge the moment the date is set. But each day it grows, occupying more and more of my mind. This is not to say, I don’t think about it everyday. I do. But the thoughts become more paranoid and frequent. Worst–case scenarios play out. It’s different from the time during treatment. We always had the comfort of knowing that there is still more treatment.By the time we reach MRI day, bring Jun back to the machine room, watch the anesthesiologist put him under, and leave him to be scanned for the next two and half hours, I feel close to nauseas. In my mind, at this point, someone knows. I know they may be a technician and are not necessarily trained to read an MRI. But they know. They’ve seen it before.There usually is a waiting period between the time of the scan and the time you can meet with your oncologist or someone else qualified to read and interpret the scan. I do whatever I can to make that window as narrow as possible. I leave radiology with a disc in hand and head directly to the clinic to pass it off. I’ve heard of people waiting days for an appointment. That’s not an option for me. There would be no eating, no sleeping, and no resting heart rate without knowing. Fortunately, our oncologist is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 21-40 [Access article in PDF] Unifying the Curriculum with an Art Exhibition:In the American Grain Terry Barrett This is an account of a whole-school faculty designing and teaching a five-month whole-school curriculum based on an exhibit of modern American art, In the American Grain, in a public school in the Pacific Northwest, grades 6-12. This account is a case-study of a successful (...) attempt of teachers, students, and administrators at one school, in one time and place, unifying the whole curriculum by having an art exhibit at the center of learning. The account is given through many voices, especially those of the students in the school who participated in the curriculum, and the teachers who invented it. I served the school as a faculty advisor and thus the telling is in the voice of a participant-observer but I rely heavily on the experiences of the participants and their ways of telling. The students and teachers are unabashedly enthused about what they were able to accomplish in teaching and learning, and are eager to share their experiences with other learningcommunities. This account begins with a short history of the recently founded school and an overview of its curricular mission. It proceeds with students telling about projects they did and their experiences of the curriculum, which evolved around In the American Grain; teachers talking about their experiences with the curriculum; and the founding principal's responses to the curriculum. It ends with my observations and conclusions. I hope that this account might encourage other educators to initiate their own attempts at school reform by placing the arts at the center of the curriculum. The School Vancouver School of Arts and Academics opened in September of 1996 with 525 middle and high school students (grades 6-11 with 12th grade added the following year) in a renovated building originally constructed as a high school in 1928. 2 The school has a new theater, recording studio, rehearsal rooms, and art studios. The school is dedicated to "the dual mission [End Page 21] of academic rigor and artistic excellence," with an evolving curriculum in which all areas of study (math, science, language arts, and social studies) and a full spectrum of arts disciplines (music, theater, dance, moving imagery, literature, and visual arts) are focused around artistic themes taught through interdisciplinary approaches. 3All students attend the school full-time. The mornings are devoted to "academics," subjects that are team-taught to "core groups" of students of combined grades (6-7-8, 9-10, 11-12) and the afternoons consist of three hours of arts instruction in elected classes of mixed-age students. There are four teachers for each core of about 100 students. Teaching and learning is project-based, interdisciplinary, on an art-centered school theme pre-selected for the year by the faculty. In selecting its theme for a year, the faculty follows the state of Washington's pattern for social studies concentrating one year on world history, the next on United States history, and the next on state history. The faculty also privileges an art form for the year: year one is visual arts; year two, music; year three drama; and so forth. Theme-related projects are conducted by students working individually or in small groups of two to three, and are usually teacher-suggested at the junior high level and student-initiated at the senior high level.Students enroll from all areas of the Vancouver school district and neighboring districts. 4 Students and their parents are interviewed and students are selected for the school on the basis of a demonstrated interest in the arts, not on portfolios or auditions, nor on the basis of special designations such as "gifted and talented." Most of the students are from working-class families, and most students graduating from the school go on to college.All faculty members applied to teach at the school, and all have personal interest and expertise in one or more art forms. For example, Mr... (shrink)

Etymologies are often entertaining, but it is not always obvious what they mean. Take the case of Old Frankish *sal, meaning a single-roomed dwelling. The word was taken over by speakers of Vulgar Latin as sala, and by 1100 CE it had become a word of Anglo-Norman French, since in The Song of Roland it crops up as sale, meaning the living area of a castle. Some time later, it wandered into Italian. Renaissance architects wanted to make a new word (...) for the increasingly grandiose spaces they were designing, so they added an augmentative suffix, producing salone. In the seventeenth century, French translations of Italian works on architecture reproduced the new term, only dropping the final e so as to keep the masculine gender of the Italian. French salon came into English in the early eighteenth century, initially as a word for a large and lofty room; but as French speakers applied it more and more to social functions occurring in such spaces, English speakers did so too. Then came a fork: a phonological adaptation produced saloon, which drifted off as a fully naturalized word of English toward hotels, carriages, bars, and cars; but salon persisted nonetheless. By retaining the stress pattern and marginally nasal final vowel of its source language, the doublet has remained in use as a xenism—a word of English understood to be not English, but understood in English all the same.How many such words are there? Hundreds, maybe thousands. Coupé, du jour, fuselage, pizza, paparazzi, sauerkraut, Zeitgeist—all signal their foreignness either by nonstandard pronunciation of written consonants (s, g, j, z), the presence of foreign diacritics, or irregular tonic stress. These are the kinds of loanwords that Scholar calls “émigrés,” but he gives us not thousands or hundreds or even a dozen of them: his chapters deal only with four: à la mode, ennui, naïveté, and caprice. The histories of these words do not really teach us any more about the cultural, social, and political relations between England and France than do saloon and salon, which is not much at all, or any other set of loanwords that retain phonetic or orthographic signs of foreignness. Scholar nonetheless does his level best to put his favored four at the heart of early modern English culture. Lengthy accounts of a play by Dryden, a famous work of Schiller's, an essay by Raymond Williams, Caribbean notions of creolization, and a John le Carré novel, learned though they all may be, do not really make the argument more persuasive, or even clear. By the end of this beautifully produced and floridly written book, the reader (or at least this reader) is not quite sure what it was really about. The very title of Émigrés repurposes a xenism which in regular usage is associated with high social status (we never talk of émigré workers, for example), thus exhibiting what I suppose the whole field ought to demonstrate: the ways in which new, hard, or nonnative words are always used to establish pecking orders between speakers, between their interlocutors and between their worlds. In Bourdieusian terms: not to make distinctions, but to create distinction. (shrink)

Rammenau is a tiny village situated in the lovely Oberlausitz countryside east of Dresden. It is a village with two claims to fame: it possesses a large and well-preserved early eighteenth century Baroque palace, which now contains an elegant restaurant, hotel, and museum; and it is also the birthplace of Johann Gottlieb Fichte. The modest house where Fichte was born in 1762 no longer survives, but the village still includes several structures from the time of Fichte, including the church (...) where he was baptized and the school where the future philosopher was enrolled before his serendipitous “discovery,” at the age of nine, by Baron von Miltitz, who was so astonished by the extraordinary intellectual talents of the young Fichte that he offered to sponsor his study at Schulpforta and elsewhere. The village also contains several other reminders of its most famous son, including various monuments and, in the palace itself, a three-room “Fichte museum.”. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 21.1 (2001) 109-111 [Access article in PDF] Seventh International Buddhist-Christian Conference David W.Chappell Soka University of America Pack your bags! The annual meeting of the Society for Buddhist-Christian Studies in Nashville decided that the next international conference will be held August 5-12, 2003, in Chiang Mai, Thailand.An invitation was extended to the society by Dr. John Butt, director of the Institute for the Study of Religion and (...) Culture (ISRC), and by the president of Payap University, Dr. Boonthong Poocharoen. As a Presbyterian faculty member of the McGilvary Faculty of Theology, John has extensive interreligious experience in Thailand and participated in the society's last international conference held in Tacoma, Washington, in August 2000.The institute's associate director, Professor Saeng Chandrangam, is a former Buddhist monk and is one of Thailand's most highly respected Buddhist laymen. He was Chair of the Department of Oriental Studies and the Department of Modern Languages and was Dean of Humanities of the government's Chiang Mai University, where he taught philosophy and theology. Currently he teaches at a Buddhist university in Chiang Mai as well as serving as the associate director ofISRC. Also, Donald Swearer, who has been active with the society since the first international conference in 1980, will be in residence in Chiang Mai in the springs of 2002 and 2003 and can help plan the conference.Payap University was founded in 1974 by the Church of Christ in Thailand, a consortium ofThai Christian congregations begun by Presbyterian, American Baptist, and Disciples missionaries. However, about 95 percent of Payap University's nine thousand students are Buddhist since Chiang Mai is centrally located in the Burmese-Thai axis with the heaviest concentration of Buddhists in the world. As a result, the conference will be set in a context of Protestant missions within a Theravadin Buddhist culture. This setting will increase the presence of conservative and evangelical Christians, as well as Theravadin Buddhists, to serve as an important balance to the already strong Mahayana and Catholic dialogue leaders in our international conferences. John wrote that "Holding the next conference here would demonstrate that there are other forms of Christian faith quite different from that represented by the evangelical missionaries" and that there are other ways of understanding and approaching other different religious communities. Accordingly, a possible theme [End Page 109] might be "Rethinking Mission Motivation and Practice (both Buddhist and Christian) for the Twenty-first Century."Chiang Mai is a city of a population of about three hundred thousand that preserves much of the charm of traditional Thai culture, while also having modern conveniences like Western fast foods and ATMs, but has not yet succumbed to the congestion of Bangkok. Its weather should be in the eighties or nineties and its hotels are inexpensive (about twenty-five dollars per day for two). The meetings at Payap University will be in air-conditioned rooms in a picturesque setting. Payap has three campuses and is affiliated with the McCormick Hospital. It offers twenty-four undergraduate degrees, as well as master's degrees in divinity, linguistics, business administration, international business, Teaching English as a Foreign Language, philosophy, and Christianity.Payap University can draw on considerable experience for hosting foreign programs. The vice president for external affairs, Martha Butt (wife of John), heads a committee that has planned, developed, and operated the in-country segments of all the Thai Elderhostel programs involving over three thousand participants. Also, they will be joined by faculty members from Mahidol, Chulalongkorn, and Thammasat Universities, including Dr. Parichart Suwanbubbha of Mahidol University, a Thai Buddhist (with a degree from Chicago comparing the concepts of karma and grace), who attended the Tacoma conference in 2000.ISRC is located on the Crystal Spring campus of Payap University and was founded in 1996 to serve as a research and study center for scholars and others interested in the comparative study of religion and culture. The institute's primary goal is to provide and nurture a broad ecumenical religious vision for the people ofThailand and Southeast Asia and for others visiting or working... (shrink)

Infinity is a concept that fascinates everyone from a seven-year-old child to a maths professor. So remarkable and strange is it that contemplating it has driven at least two great mathematicians over the edge into insanity. Where did the concept of infinity come from? Who were the people who originally defined and later refined this paradoxical quantity? Why is infinity, a concept we can never experience or truly grasp, at the heart of science? How can some infinities be bigger than (...) others? An exploration of the most mind-boggling feature of maths and physics, this work examines amazing paradoxes, for example Hilbert's Hotel. This imaginary resort has an infinite number of rooms, which all happen to be occupied. Unfortunately an endless coach turns up carrying an infinite number of new guests. It's not a problem though - it's easy to prove they can all be accommodated. The book also looks at: the people who devised and refined the concept, the many mind-bending paradoxes of infinity, infinity's place at the heart of mathematics and science in processes such as calculus, how dividing by zero brings infinity into view and infinity and cosmos. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Deconstructing Life-Worlds: Buddhism, Christianity, CultureRoger CorlessOn Deconstructing Life-Worlds: Buddhism, Christianity, Culture. By Robert Magliola. Preface by Edith Wyschogrod. American Academy of Religion Cultural Criticism Series, edited by Cleo McNelly Kearns, Number 3. Atlanta, GA: Scholars Press, 1997. xxii + 202 pp.How does one review a deconstructionist book—a book that seeks not only to discuss deconstruction but to be deconstructionist, a book that simultaneously takes books seriously and mocks (...) both the author and the reader for imagining there could ever be such a thing as a book, a something that is written and then read, a writing that says that everything is Writing but that all Writing/writing is written under erasure and so is (as p. 202 explicitly, self-reflexively proclaims itself) an empty page that is, by that very emptiness, marked? Derrida derides the Introduction, for, he asks (without speaking, parlant avec dénégations, denying that he is expressing denials) what is being Introduced? What do we think we are doing when we lead a reader into (introducere) something that is not there to be lead into until a reader is lead or leads himself or herself into it? Do we not, thus, need an Introduction to the Introduction, and another Introduction to that Introduction, a regressus ad infinitum introductionum? Edith Wyschogrod writes a Preface. Does she mean us to think that the book has a Face, and that it therefore needs a pre-Face? Does she think that she/we face toward the book, or does the book face toward her/us, or does/do she/we both together face toward the putative subject matter, which itself has two faces, Buddhism and Christianity? And who am I, the reviewer?This cannot be a review (a looking-over), but it might be a re-view (a looking-again), which informs (in-forms, incarnates) itself so that you, dear Introducer of Yourself, can review (look over) your presuppositions about Buddhism, Christianity, life-worlds, and reality in general, and re-view them (re-visit them, look again at them) so as to reform (re-view, see-again, as formless, and thus re-form) them.One draws a circle, says Charles Fort, beginning anywhere. So let us open the book at random. On page 84 we find: “Taiwan has over 25,000 students studying in the United States, the largest foreign contingent in American universities.” This aggressively logocentric sentence is provided with a footnote: “Statistic of 1987. Since then, the proportion of Chinese from the People’ [sic] Republic has become much more noticeable.” Hmm—a little typo, but nevertheless we are, to our surprise, deep in the overheated hotel conference rooms of the annual meeting of the American Academy of Religion. So, why are we told this? It is part of a section that cuts (“Lt. sect-, cut”, we are reminded on p. 175) across (cross-hatches) Magliola’s life/lives run/runs (Curriculum Vitae, Curricula Vitae, Curricula Vitae Novae, Curricula Vitarum, as the chapter headings have it) as an academic, a Catholic, an almost-priest, a Buddhist meditator, a husband, a divorcé, an Italian, an American, [End Page 216] a resident of Taiwan. All these spill out from the overstuffed closet of Magliola’s life/lives, which, without warning, he opens upon us and then sits among the salade challenging the reader to become bricoleur. But if we do, we feel we have missed the point. Or we have seen the point—which is just as bad.Crosshatch: that’s the theme, I think. Cross, “X” (both the Roman character “eks” and the Greek character “chi”), crucifix, saltire, cross-religions, cross-cultures, cross-countries, cross-country, crossing-out (rature), and finally, revelation by relationis oppositio under/through four forks (“Il ne s’écrit que sous la grille des quatre fourches”—p. 177, quoting Derrida).Magliola is on this cross, he is cross (angry/mad), he is crucified by it, he hopes to cross over by means of it. “This book is not written for the arrived by the arrived” (p. xix), yet he is “on the water, not at sea” (p. xx).It may not be incorrect to say that the book is in... (shrink)

This paper explores issues of abstraction and space in Sande Zeig's movie The Girl (2001), based on a novella by Monique Wittig, who also co-wrote the script. It argues that, with this movie, Zeig and Wittig strive to re-materialize the lesbian body abstracted by the ‘Straight Mind’ as defined by Wittig in her 1980 essay. The plot revolves around the love affair of two women, the narrator and the Girl (a lesbian painter and a straight B-grade jazz singer), under the (...) oppressive scrutiny of the Man (the Girl's boss). Each part of this paper corresponds to one space where the characters interact: first, it shows how the nightclub stands as a space of transgression for the lesbian subject and how it opens a reflection on temporality as represented by space; then the analysis of the hotel room where the Girl lives and meets the narrator demonstrates how, notably through the use of close-ups in erotic scenes, Zeig redefines abstraction as a new way to envisage the materiality of the lesbian body; finally, in the third part, the discussion on abstraction moves on to the narrator's studio where, through her work as a painter, she also explores abstract representations of the female body. This approach reconciles Wittigian theory with post-modern queer theory, and confirms that the former still offers paths to positive reformulations of modes of relationality through the de-spatialization of gender – de-genderization; the rematerialization of the body outside of heteronormative conventions; and a reconfiguration of human relationships that refuses the inevitability of social and amorous hierarchy, and that shifts the representation of the erotic from possessiveness to disinterested reciprocity. (shrink)

Although removed from immediate clinical practice, decisions about the design of hospitals eventually impact on patient care and treatment. Any decision which affects a patient’s treatment is an ethical decision and should be guided by the principles of medical ethics. If we apply these principles to healthcare facilities, it would seem that providers have a duty to design hospitals which best reduce the possibility that a patient may come to unnecessary harm during their treatment and improve a patient’s experience, privacy (...) and dignity. Evidence suggests that hospitals designed with 100% single-occupancy rooms are best equipped to achieve these aims.The prevalence of hospital acquired infections is still increasing. Currently, they are thought to affect around 9% of hospital patients in the UK and contribute to around 90 000 deaths per year in Europe.1 A hospital design which is able to decrease the prevalence of hospital acquired infection would help to reduce the amount of harm a patient may experience in hospital. Studies have shown that adapting the hospital design to incorporate 100% single-occupancy …. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rita Gross as Colleague and CollaboratorNancy Auer FalkWhen this panel in honor of Rita was first listed in the AAR Annual Meeting program, I found myself listed as Rita's "colleague." This was accurate only in the broadest sense of the term "colleague." I have never worked on the same faculty as Rita or watched her teaching her students. A more appropriate description of my relationship to her would be (...) "collaborator," and perhaps, for a time, mentor—although Rita never needed mentoring for very long. I coedited with Rita three editions of the volume Unspoken Worlds and was in frequent communication with her during the several years in which she chaired the AAR's Women's Studies Section.I knew Rita best during a very early stage of both our lives' work when I was the one doing Buddhist studies and she was still a convert to Judaism, busily castigating every male scholar who had written about Australian Aborigines for their failure to recognize the secret and sacred religious practices of women. Many years later, by the way, I had the privilege of visiting the Pitjantjatjara cultural center at the Australian site called Uluru/Ayers Rock and discovered that Rita had been right on target with that criticism. The center's exhibits are full of references to women's important roles and practice, while the path to the women's sacred cave at the rock's base is clearly marked and barred to casual visitors.Although I am well aware of Rita's contributions to women's studies in general, to Buddhist studies, and to the American Buddhist community, I shall leave those for others to discuss. I want to point to three aspects of her contributions that might otherwise be missed, because hardly anyone other than myself is aware of them. These are her initial critique, while still a graduate student, of our mutual field of study, History of Religions; her work with me in conceiving and editing Unspoken Worlds; and her work as AAR Women's Studies chair.To me, it has been especially fitting that I was asked to discuss my collaboration with Rita at a panel convening in Atlanta. This is because it was at an AAR annual meeting in Atlanta that my link to Rita began—as did the constellation of circumstances that would make her a major force in women's studies. It was in 1971 at the Hyatt Regency Hotel. That year the annual meeting program held an announcement of a meeting for women scholars, scheduled within a room so tiny that many who [End Page 63] came could not get all the way in. I was one of those left standing in the doorway, craning my neck and trying hard to hear what was going on. That meeting planned a coup that challenged the AAR's previously all-male leadership. One of its decisions was to pack the annual business meeting with women. At that time AAR officers were elected at that meeting. A slate of nominees was presented, with the provision that additional nominations could be made from the floor. Normally very few members attended that business meeting. But this time the AAR women showed up in force, and then nominated and elected Christine Downing, the first AAR woman to become a line officer and therefore, in succession, an annual meeting program chair and AAR president. Rosemary Reuther of this panel was one of that coup's ringleaders. A second component of the original meeting, more relevant for Rita and myself, was establishment of a working group on women and religion, to begin its deliberations at the following year's annual meeting.As I left that original meeting in its tiny room and walked into the Hyatt's immense central atrium, I heard a voice behind me: "Hello, Nancy." I turned and found myself looking at a young woman whom I could have sworn I had never seen before. She introduced herself—Rita Gross, a first-year student at Chicago when I had been a last-year student, preoccupied with exams, job interviews, and dissertation and oblivious to everything else—including the group of entering students. We sat down... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Musician's Way: A Guide to Practice, Performance, and WellnessSusanna P. GarciaGerald Klickstein, The Musician's Way: A Guide to Practice, Performance, and Wellness (Oxford University Press: New York, 2009)Directed towards college music majors studying the Western classical tradition, The Musician's Way articulates both an artistic approach to attaining mastery of an instrument/voice and a practical approach to achieving professional goals. Its treatment of these topics is comprehensive, addressing, (...) in addition to practical needs, the physical and psychological demands of functioning as a professional musician. Gerald Klickstein, a classical guitarist and teacher at the University of North Carolina School of the Arts, says that he intends the book to be "a beacon on your journey towards limitless artistic growth" (p. vi).The Musician's Way is organized into three sections: "Artful Practice," "Fearless Performance," and "Lifelong Creativity." Klickstein treats these subjects, not as separate and unrelated topics, but as interdependent elements necessary for long-term musical success. The Musician's Way is uniquely holistic. It encourages aspiring musicians to approach their study as a process that will take place over the course of a lifetime. The Musician's Way is not a research-based text. It is rather a practical self-help manual, filled with the wisdom gained in Klickstein's thirty years in the performing and teaching professions.At the outset, I should state that I am writing this review from two perspectives: [End Page 100] as a professor of piano at a mid-size public university, and as an experienced performer with a touring piano-duo. These experiences inform my critique of Klickstein's book.In "Artful Practice," Klickstein takes on the heroic task of defining both the 'what' and the 'how' of practicing. Mastery of the art of practicing is a precondition for musical success, yet it is not uncommon for students to enter college poorly schooled in the habits they will need for success in school and the professional world. In my undergraduate piano studio, for example, much of a student's first semester or even a full year may be spent acquiring proper practice and repertoire management techniques. Many students are unaware that artistic performance requires more than correct notes and rhythms. The habit of empty repetitions—playing something over and over again without setting specific goals or applying any critique—is common. Some students do not possess the listening skills necessary to enable critical assessments about their performance. For others, memorization requirements pose a serious challenge. This is often exacerbated by a lack of knowledge of theory or poor general musicianship skills. Managing a large body of repertoire in preparation for juries and recitals is a new frontier. Many students are unaccustomed to a more demanding practice and rehearsal schedule. A sudden increase in time spent on their instrument may result in temporary injury or chronic pain. There are, of course, many other psychological and social issues that arise when students transition to university life.Klickstein understands this and he attempts to quantify every facet of practicing in painstaking detail. No element is too small to warrant inclusion in one of his many lists and subsequent discussions. Initially, I found this penchant tedious. However, there were always items on his list that I would not have thought to mention to a student. For example, Klickstein's advice on outfitting a practice room lists the obvious necessities: a suitable chair, music stand, metronome, and pencil. However, he also discusses equally essential yet sometimes overlooked items, such as a bottle of water, adequate lighting and climate control, and hearing protection. This mundane example is illustrative of the meticulousness of his approach throughout the book.One of the most useful proposals in The Musician's Way involves the organization of practice sessions. Many students habitually prepare for very short term goals: lessons, studio class performances—whatever is just around the next corner. Juries, in which students are expected to prepare a short program of compositions, are intended to be a step along the way to longer, more significant performances such as upper division barriers and junior and senior recitals. Students have difficulty managing their practice time to continuously cycle... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.1 (2000) vii-ix [Access article in PDF] In Memory of Henry I first met Henry W. Johstone Jr. during the spring of 1968. I was a doctoral candidate at the University of Wisconsin and Henry was in Madison as part of a distinguished visitor series hosted by my mentor, Lloyd Bitzer. Lloyd had invited a group of graduate students to his home to meet the guest (...) of honor. I was particularly excited because Henry had accepted my paper on Aristotle's theory of exemplification to appear in the new international journal Philosophy and Rhetoric, which he edited. This was my first publication and I wanted to thank him, which seemed to this novice the appropriate thing to do. I remember that evening for Henry's seeming reserve, which I later learned was a deep shyness that masked his capacity for uncanny directness and a wicked sense of humor, and for his generosity in deflecting my naiveté about the basis for editorial judgments. I also remember it for his deft way of engaging a room of young rhetoricians with questions that conveyed his doubt about their subject (he later changed his mind) without clouding his sincere openness to what we had to say. The following fall, we met again during my interview for a position in the Speech Department at Penn State University. I was offered the position and became Henry's colleague as Book Review Editor of P&R. For the next thirty years, I was blessed to serve as Henry's partner-in-crime in the joys of life that may remain today only among the professoriate. We shared in the editorial work of the journal, in co-teaching our graduate seminar in Philosophy and Rhetoric, in our intellectual passion for the bonds and wars between philosophy and rhetoric, and in the pleasure of choosing the right bottle of wine. But more than that, we shared these common pursuits in contexts of luncheons, dinners, and social occasions that mixed intellectual work with the pleasure of treasured company.My son phoned today to tell me that Henry had died. His passing leaves a void in my life that goes beyond the loss of a friend and colleague. Henry was the person who, through patient selection of manuscripts for me to referee and guidance, taught me how to read journal submissions and offer critiques that might help the author to improve and the journal to prosper. Henry was the person who taught me the value of generosity with junior colleagues by his respectful and serious engagement of my own work. He had a marvelous capacity to entertain any idea seriously, to consider the possibility that even a far-fetched conjecture might have value rather than rejecting it out of hand. He lived the ideas he wrote about as a philosopher, arguing always ad hominem and con amore. Henry was the person who took me in tow as a young Turk and suffered my impatience with the conservative ways of our established institution [End Page vii] by taking me to lunch, engaging me in discussions of ideas, and sharing the delights of intellectual work, and in the process helping me retain my ideals and my focus.Lunch for Henry was more than a noontime meal. It was the way he sustained bonds with those he valued as friends and colleagues. He would call two weeks in advance to arrange a date at the Allen Room of the State College Hotel. He would arrive at my office ten minutes early and we would take a leisurely stroll along the Old Main Mall to the hotel. Our arrival was announced by the host with "Good afternoon Dr. Johnstone," that showed in its formality deep respect and in its tone equally deep affection. Henry always took a cocktail with lunch, inviting his companion to join him, and unless you were specific about the bill beforehand, Henry usually insisted on paying. Settling the bill was never an issue for Henry. He often included a graduate assistant from the journal or an assistant professor in our party and seemed to... (shrink)

Nikola Tesla (1856–1943) is surely one of the more remarkable figures in the story of global electrification. Rivalling Thomas Edison for the title of chief Wizard, both in his own time and ours, almost every invention of modern life has at some point been attributed to Tesla: from the communications media of telephone, fax, radio, and television, through the military utilities of radar and remote-control weapons, and (most plausibly) the systems of alternate current generation and transmission that power our world. (...) And yet Tesla died impoverished and alone in a New York hotel room with his greatest plans for wireless power transmission abandoned and derided, if they were remembered at all. Tesla’s image as something of a martyr to an ungrateful world has indeed generated a cult following in recent decades, doubtless fired in part by the Serbian nationalism that has justly helped raise the profile of Albert Einstein’s first wife, Mileva Marić (e.g. M. Popović, In Albert’s Shadow: The L .. (shrink)

The welfare state has been said to be in crisis many times. Many have predicted the death of the patient, but without having made a proper diagnosis. Reasons for such crises, it has been argued, have been globalisation, change in demography, lack of legitimacy and lack of ability to.nance public sector activities. As the articles in this issue show, however, despite the many changes it seems that welfare states are alive and kicking. Changes, adaptation, recasting, recalibration and restructuring are some (...) of the words attached to the development of welfare states in Europe. It thus seems that despite a rhetoric of crisis and difficulty in the European welfare states what we instead are witnessing are, although profound, changes with a high level of respect for a continuation of the welfare states as developed over the last 100 years. One reason for this might be the electoral cost of retrenchment, but it could also be due to the fact that the historical reason for the development of the welfare state still exists. This can be witnessed in the need for intervention due to market-failure, the need to cover certain contingencies and a need to cover risks, for example, in relation to work accidents. The welfare states still have, on top of that, a role as redistributor between rich and poor, and between generations and over the life-cycle of the individual. Maurizio Ferrera in his article points to the fact that even though it looks like there is a trade off between efficiency and equality, this does not need to be the case. Further, he also notes that there is still room for manoeuvre for the national decision makers to find solutions despite pressure from outside. In his article he also points to a role for the European Union which by promoting ideas and analysis has put forward methods of change at the national level. Experiences with new forms and strategies in welfare state policy, and using learning effects thus seem to be a new avenue for development. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 463 Kawika Guillermo Libido Ergo Sum Sitting atop a red beanbag stained with dark splotches, Kelsey watched the tells from the five boys sitting on the carpet in front of her. One by one they gave away their hands, their eyes dodging hers, perhaps afraid of her female intuition. She loved these surreptitious moments, when her boys tried (...) to fool her, believing that they had her in their clutches, as if she couldn’t help but be pulled by their charms. Kelsey went all in, moving her chips into the middle of the carpet. Kaleb’s mouth grinned to the right while Gabriel impatiently tapped on his knee, keeping beat with the remixed 80’s tune coming from the large boom box behind him. Billy’s face was in a gleeful Leave-It-to-Beaver of daffiness, and Michael’s dumbfounded expression—worn to distract her— was put out by a nervous scratch of his neck. After each had pussied out, Kelsey leaned over to distract them further with her cleavage as she picked up the red playing cards, her hair settling onto the boys’ laps as if to imitate fellatio. “Alright, pussy bitches,” she said, collecting the chips and stirring the toothpick in her mouth like a mortar. “Pass’em down,” pointing to the gold dealer’s piece. “Big blind, little blind.” She watched the world as if from a recliner and saw herself dealing the next hand with the finesse of a professional dealer. Her gaze circled the carpet of poker players. Their eyes never met hers. In every house party Kelsey hosted, she always saw a faint bleakness in her guests. She always cleaned them out, her eyes scanning them like food at a supermarket, unveiling their moves with every glance. She watched them all at once: Jackson wiping his mouth, Michael adjusting his glasses, Gabriel 464 Kawika Guillermo chewing on bubblegum in loud smacks, Billy grinning as he mouthed curse words. Finally, Kelsey took only a glimpse at her own cards before doubling the ante. Tommy shrugged and tossed his cards; Michael met her raise and she went all in. She noticed these patterns all between them. She saw their reactions before they even happened: Michael shaking his head and calling her a bitch as he splashed his cards onto her living room carpet. At two in the morning she drank two tequila shots in the kitchen with Paul, one of the many toxic men that she had invited to her party from work. He was a sturdy baseball player/lightweight alcoholic, toxic in his thoughtless remarks on meeting schedules, upcoming due-dates, and portfolios. “Then you put the salt on your thumb, or whatever,” Paul said, shaking up a bottle of Patrón Silver, as if it needed to be shaken. Kelsey stuck out her shot glass for another. A year ago she would have been doing homework, playfully kicking off the dust of the world with a big biology textbook in her hands. Since then, she had discovered that there was a pattern to debauchery that led to some existential fulfillment—a realizing of herself as a living substance—an uber-debauchery. Refusing to dilute her angst into anything but total surrender, she was still a Vegas girl, willing to throw herself into in the Las Vegas rites of passage of drunk driving, diving nude into neighbor’s pools, and waking up in hotel rooms with a hundred dollar bill on the cupboard, weighted in place by Gideon’s Bible. “Another sausage fest,” said a man in a cowboy hat and vintage overalls. Kelsey didn’t know him. He sat on the countertop like the Cheshire Cat and flipped through a book of bumper stickers. He wore one with the words “Libido Ergo Sum” on his forehead. “All right!” another drunken voice shouldered through waves of sound: “Seize the day!” “James’s baby sure looks cute tonight,” said another drunken voice. “’Course no one would try, except this guy.” The man in the cowboy hat smiled up at her. “How come you don’t invite your girlfriends to your parties?” “I don’t have... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Call for Proposals:The Seventh International Buddhist-Christian Conference, "Hear the Cries of the World"Ruben HabitoThe Society for Buddhist Christian Studies will hold the Seventh International Buddhist-Christian Conference at the Loyola Marymount University campus, Los Angeles, California, 3-8 June 2005. (This conference was earlier posted to take place in August 2004, but was postponed for various reasons.) The overall theme will remain as previously announced: "Hear the Cries of the World: (...) Buddhism and Christianity in Dialogue Toward Global Healing."The program committee welcomes proposals for working groups, scheduled to meet in three successive morning sessions for two hours each, addressing a specific theme or issue, with one or two coordinators and five or more core-group members; full panels, to be presented in one two-hour session, on a specific theme, with a moderator, three to four speakers, and one or two respondents; and individual papers on a specific topic related to an issue or issues in Buddhist-Christian dialogue.Proposals for working groups on themes such as religion and ecology, human rights and social justice, women and religion, toward a global ethic, practice across traditions, Catholic-Buddhist relations, religious responses to violence, religion and globalization, and other relevant themes, are welcomed. Working group proposals should include the title or theme of the working group, a short 200-300 word description of the goal(s) of the working group, and the names and contact information (including address, phone, fax, and e-mail) of the coordinator(s) and at least five other core-group members.Proposals for full panels for a two-hour time slot, addressing specific themes, including issues in doctrine and theory, ritual, religious practice, methodology, and others, are encouraged. Full panel proposals should include the title of the panel, a short 100-200 word description of the theme and intent of the panel, and the names and contact information of the moderator and three or four panel participants.Individual paper proposals for a 30-minute presentation on various themes, including doctrinal, ritual, practical, ethical, and other issues relevant to Buddhist-Christian dialogue are also encouraged. [End Page 245]In addition to the working groups, panel, and individual paper sessions, there will be opportunities for participation in various forms of meditative practice, prayer, and/or ritual in the morning before breakfast and early evening before dinner. These will be led by spiritual leaders and teachers of various Buddhist and Christian traditions.Further, because Los Angeles is known to be one of the most religiously diverse cities in the world, there will be opportunities to visit religious sites in the area and meet with leaders and members of different Buddhist and Christian communities.Proposals preferably should be sent by e-mail to, with a copy to, or by postal mail to Prof. Ruben Habito, Perkins School of Theology, Southern Methodist University, Dallas, TX 75225, USA. The deadline for submission of proposals is 31 January 2005, but early submissions are encouraged.Lodging and meals will be available at the Loyola Marymount University campus in Los Angeles, as well as in hotels nearby. Registration fees and costs for lodging and meals will be announced at a later date. For queries regarding site facilities and registration, please email the conference director, Prof. James Fredericks, at.Copyright © 2004 The University of Hawai'i Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 141-142 [Access article in PDF] The Seventh International Buddhist-Christian Conference in Los Angeles, California Ruben L. F. Habito Perkins School of Theology Call for Proposals: Working Groups, Full Panels, and Individual Papers The Society for Buddhist-Christian Studies has appointed a program committee to prepare for the Seventh International Buddhist-Christian Conference, to be held at the Loyola Marymount University campus, Los Angeles, California, from August 6-10, (...) 2004. The overall theme will be "Hear the Cries of the World: Buddhism and Christianity in Dialogue toward Global Healing."The program committee welcomes proposals for:Working Groups, scheduled to meet in three successive morning sessions for two hours each, addressing a specific theme or issue, with one or two coordinators and five or more core-group members.Full panels, to be presented in one two-hour session, on a specific theme, with a moderator, three to four speakers, and one or two respondents.Individual papers on a specific topic related to an issue or issues in Buddhist-Christian dialogue.Proposals for working groups on themes such as Religion and Ecology, Human Rights and Social Justice,Women and Religion, Toward a Global Ethic, Practice across Traditions, Catholic-Buddhist Relations, Religious Responses toViolence, Religion and Globalization, or other relevant themes are welcomed. Working-group proposals should include the title or theme of the working group, a short 200- to 300-word description of the goal(s) of the working group, and the names and contact addresses (including phone, fax, and e-mail) of the coordinator(s) and at least five other core-group members.Proposals for full panels addressing specific themes, including issues in doctrine and theory, ritual, religious practice, methodology, and others, are encouraged. Full-panel [End Page 141] proposals should include the title of the panel, a short 100- to 200-word description of the theme and intent of the panel, and the names and contact addresses of the moderator, three or four panel members, and respondent(s).Individual paper proposals on various themes, including doctrinal, ritual, practical, ethical, and other issues relevant to Buddhist-Christian dialogue are also encouraged.In addition to the working groups, panels, and individual paper sessions, there will be opportunities for participation in various forms of meditative practice and/or ritual in the morning before breakfast and early evening before dinner, to be led by spiritual leaders and teachers of various Buddhist and Christian traditions.Further, with Los Angeles being known as one of the most religiously diverse cities in the world, there will be opportunities to visit religious sites in the area and to meet with leaders and members of different Buddhist and Christian communities.The conference will feature four evening plenary sessions with invited speakers on the following themes:Voices of America: Healing a Wounded Nation Jan Chozen Bays Roshi; others TBAVoices from Behind Bars: The Forgotten Population Fleet Maull, Zen Peacemaker Order; others TBAVoices from Asia:The Struggle forLiberation andHumanization Speakers; TBAThe Politics of Compassion: We the People Can Make a Difference Diana Winston, Buddhist Alliance for Social Engagement; others TBAProposals should be sent preferably by e-mail to [email protected], with a copy to [email protected], or by postal mail c/o Prof. Ruben Habito, Perkins School of Theology, Southern Methodist University, Dallas, TX 75225, USA. Deadline for submission of proposals is set at January 31, 2004, but early submissions are encouraged.Lodging and meals will be available at the Loyola Marymount University campus as well as at area hotels in Los Angeles. Registration fees and costs for lodging and meals for those staying on campus will be announced at a later date.... (shrink)

Robert Jackson examines the work of the German artist Florian Slotawa. Beginning with his first works, “Hotelarbeiten”, Slotawa recomposes and reconfigures the order of ordinary objects – in this case, the furniture of hotel rooms. In reconstructing these rooms in another order without altering these objects in any way, photographing them, and then subsequently restoring them to their previous configuration, the artist reveals the ordinary function of the objects and by withdrawing from their function shows their material and factual (...) character. To elucidate the specificity of Slotawa’s intervention, Jackson critiques Heidegger’s conception of facticity in its exclusive account of Dasein and its being-in-the world, in contrast to the factuality of “things-within-the world.” Drawing on Harman’s extension of finitude beyond Dasein to all things, he encourages us to see Slotawa as engaged in “facticity of things” that is characterized by dispossession, lack of reason, and radical contingency. As Jackson argues, Slotawa is trying to find a way to dwell in a world that has no room or possibility for the given coordinates of dwelling; a world that is a fact without reason. In concluding he explores a reading of Slotawa that explores the intersecting yet radically different approaches to thinking about a speculative realism in the work of Harman and Meillassoux, and their differing attitudes to the finite and the infinite, facticity and factiality, contingency and necessity, without presuming to assume that either of these accounts cover the speculative facticity of things revealed in Slotawa’s work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Building a FoundationRichard KeidanA guiding principle of Judaism is "tzedakah," which translates as charity but actually means righteousness, reflecting that tzedakah is an obligation, not a choice. This concept of social justice was taught to me at home, at school and at synagogue. I gave to charities and did occasional charitable work. As my parents had taught me, I taught my own children the spirit of giving, but it (...) did come from a place of obligation, not passion. I have since come to learn that there is a world of difference between just fulfilling our obligations to each other and letting them guide the kind of person we become.It is ironic how the process of becoming a doctor—a person society expects to be selfless— requires total self-absorption. Think about it. I was trained to compete with my classmates in order to be accepted to the best university, medical school, residency, and then fellowship. I spent more than one hundred hours each week in the hospital during surgical residency. If I had free time, I wanted to do what I wanted to do. I was so focused on the end result that I had little time to think of others, let alone to ponder the inequities of the world.Several events led to the awakening of my conscience. One was an opportunity to go to Ethiopia and perform a couple weeks' worth of cancer surgery through Mother Teresa's Clinic. Quite frankly, I went because it seemed like an exciting adventure. However, I was completely overwhelmed by the experience. The conditions were abominable. The stories of each of my patients were heart-wrenching. I encountered a 14-year-old boy, the same age as my son, who had a tumor 15 cm in thickness wrapped around his neck. In order to hide the tumor he wore a scarf, but this still did not prevent him from being shunned. He traveled by himself for several days on a bus to reach the clinic. He had no one to advocate on his behalf, was unable to speak the local language, had never been outside his village (let alone in a motor vehicle), and he fearlessly underwent major surgery all by himself.The inequalities in health care compared to my suburban hospital were unfathomable. I cried every night in my hotel room. There seemed to be no solution to this situation. Soon after I returned home, Ethiopia became a distant memory. The experience cut me to the bone, but for whatever reason, I did not rally. I did not see myself as part of the solution. It took an entirely different international experience to open my eyes.There is a saying, "One goes to the Himalayas to see the mountains, but returns for the culture." In 1982, on a sabbatical from my surgical training, I went to Nepal to see the Himalayas, but fell in love with the people. Living in the most basic shelters, eating the most basic diets, with no access to clean water or toilets and little access to health care or education, the people seemed happy. I was invited into their homes and lives, slept on their straw mats, ate their rice and drank their tea. Their spirit and sense of contentment drew me back over the years 15 times. Nepal became a sanctuary for me, a place that gave me time to reflect upon what is truly important, a place that provided energy and inspiration for me. Its public health and education needs were apparent to me, but again, I felt sympathy for my Nepali friends; I did not see that I could—and must—help.It took a chance meeting to change that. Two years ago, I was on an exploratory trek on the Great Himalayan Trail in the Kanchenjunga region of Nepal. Namgyal was our sirdar (head sherpa guide), short in stature, but a giant of a man. Lacking a formal education, but very bright and [End Page 84] motivated, he rose through the ranks from porter all the way to lead sherpa of Everest Expeditions. He had reached the summit of Everest ten times by the age of thirty. He led... (shrink)

Set in the minimalist abode of a sparsely furnished hotel room, Awaiting Oblivion narrates the encounter between a man and a woman, anonymously known as Il and Elle, respectively. The plot revolves around their relationship, the nature of which is the concern of their dialogue. Their dialogue intermittently emerges through a narrative voice that is, however, infused with the very same confusion and vacillation as is their own speech. The man and woman are caught in an undulating relation (...) of attraction and repulsion, as they endeavour to rediscover the desire they once felt for one another. The themes of waiting and forgetting are manifested within the plot in their vain efforts to remember a past event whilst, paradoxically, simultaneously awaiting the event’s recurrence. This event constitutes their first encounter, the memory of which will affect their future relationship. However, each person has his own perception of how this initial encounter had transpired, the memory of which is constantly being revised, over time. The couple engage in lengthy conversations in their attempts to overcome this discrepancy. First, Il expresses his perception of the event. Sensing problematic elements in his account, Elle recounts her version of how things had transpired, while Il attempts accurately to transcribe her words. With time, Il and Elle are able to arrive at a mutually balanced view of the event. Ironically, it is through waiting and forgetting that they are able to arrive at this point. (shrink)

We are all, it is said, looking for love. But what does love look like? Does it look the way it feels? The visual vocabulary of romance-its attendant comforts and vulnerabilities, ambivalences and unclarities-is the subject of Venus Inferred. This collection of 46 richly reproduced color photographs is Laura Letinsky's study of contemporary lovers as they are seen, as they show, and as they see themselves making love and inhabiting domestic space. Entering what might be called the intimate sphere, Letinsky's (...) camera explores a space too personal to be termed public and yet whose cultural and emotional shape is uncannily recognizable. Over a seven-year period, Letinsky visited lovers in their homes, hotel rooms, bedrooms, bathrooms, and kitchens and recorded in detail the promises, disharmonies, and disappointments that inhere in modern coupling. Accompanying the photographs is an essay by critic Lauren Berlant, which presents an aesthetic and cultural analysis of the contemporary images of romance and intimacy. Berlant contemplates the burden of clarity that sexuality bears, implicit both in conventional romantic ideals and in the "counterpolitics of the flesh" that desires to escape them. Thus arises the sublime ordinariness of Letinsky's couples, Berlant argues: "As 'normal' pleasures themselves become deemed modes of domination, the already destabilizing aspects of sexuality can feel even more unsettling." An interview between Letinsky and Berlant unfolds the artist's intellectual formation while exploring the unsettling and pleasurable power of her images as they circulate through the domains of romance, sexuality, and contemporary culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LaudatioTimothy B. Noone (bio)On Sunday, July 26, 2009, the Franciscan Institute was pleased to award to Dr. Girard J. Etzkorn its 22nd Franciscan Institute Medal in recognition of a lifetime of scholarship, editing and publication of texts on medieval philosophy and theology, with a special emphasis on the Franciscan intellectual tradition. The ceremony was held in the Trustees Room of Doyle Hall on the campus of St. Bonaventure (...) University and attended by over 100 scholars, students, friends and members of Dr. Etzkorn's extended families. The award ceremony began with a personal appreciation by Dr. Thomas Shannon, Ph.D., emeritus of the Worcester Polytechnic Institute (Worcester, MA), former member during the 1960s with Dr. Etzkorn of the Sacred Heart Province of Friars Minor (St. Louis, MO). It was followed by the formal laudatio of the honorée presented by former colleague and friend, Dr. Timothy B. Noone, Ph.D., of the Catholic University of America, the text of which is printed here. The event concluded with personal remarks by Dr. Etzkorn on his life as a scholar of the Franciscan tradition."Let us praise men of renown and our fathers in their generation." Sirach 44:1The wisdom of Sirach, the last of the Solomonic books of the Old Testament, would seem an appropriate place to begin this evening's festivities. No doubt, Gerry is squirming a bit in his chair, thinking in his customary humility that the words of Sirach are a bit too high for him. But we must learn to acknowledge what is true and great wherever it is, even when (or to put the matter correctly, especially when) the truth and greatness are found in ourselves. So there will be [End Page 259] no holding back on the present occasion, since the text from Sirach points out our path.We should start with a brief sketch of Gerry's life. Born in Kirkwood, Missouri in 1927, Gerry received his primary and secondary education in Missouri before attending the University of Dayton in the fall of 1944. After three semesters studying chemical engineering, he was drafted into the military, serving in the U.S. Army as part of the occupation forces of Japan after the surrender of August, 1945. This seeming irrelevancy actually became quite important in Gerry's life, for it was during his service in Japan that he encountered the Franciscans and decided to enter the Order after returning to the U.S. Once he had completed his degrees in philosophy and theology and been ordained, Gerry was sent to the University of Louvain, where he took his doctorate, producing a thesis that contained a partial edition of Roger Marston's hitherto unpublished Quodlibetal questions.This work at Louvain presaged in many ways the bulk of Gerry's work: he edited and studied a Franciscan medieval text from Latin manuscripts and studied its philosophical and theological doctrines. After returning from Louvain, Gerry taught for ten years at Quincy College and Seminary before leaving the Franciscans in 1971. But the Franciscans and he were far from being through with each other. Within two years Gerry arrived here to work with Fr. Gedeon Gàl on the Ockham Edition, then in the throes of its labors. Initially working as an Associate Editor on the Ockham Edition, Gerry eventually became Chief Editor of the Scotus Project, the successor project at the Institute to the Ockham Edition.During his twenty-two years at the Institute, Gerry kept up a steady pace of editions, some connected with the Institute's research projects and others springing from his own interests. Among the former, we must note three volumes of the Opera theologica of Ockham and four volumes of the Opera philosophica of Scotus; among the latter, we find the complete edition of Roger Marston's Quodlibetal questions, the edition of John Peckham's Quodlibetal questions, numerous articles containing briefer editions of lesser figures, and a volume of manuscript descriptions, analyzing manuscripts never before described in the Vatican Library. [End Page 260]What I have mentioned so far would be enough for any one human being within the scope of one lifetime. But God had more in store for Gerry... (shrink)

Auster contributed an extract from Moon Palace to the collection “Edward Hopper and the American Imagination,” and it is clear that Hopper’s images of alienated individuals have had a profound resonance for him. This paper employs two main ideas to compare them. First, a pivotal moment in American literature: the hotel room drama watched by Coverdale in Hawthorne’s Blithedale Romance. Secondly, Aby Warburg’s concept of the “pathos formula” in art, which bypasses the problematic issue of influence, choosing instead (...) to posit sets of inherited cultural memories. It therefore allows discussion of the re-emergence of Hawthorne’s puritan tropes of paranoid specularity and transcendence in the work of Hopper and Auster. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Poetry in TheoryBob Perelman (bio)Home MoviesWhen my wife and I went to Guatemala in 1975 for our honeymoon, our eyes were opened to novel states of affairs. Money, for instance, was not continuous, but was kept in place only sporadically and with the broadest hints of violence. In Guatemala City, sixteen-year-old Mayan kids in army camouflage with submachine guns were stationed on every street corner where there was a (...) bank. But the local remained thoroughly distant from any would-be universal. An elderly middle-aged Mayan man at a market outside the capital balked rather indignantly when I gave him a paper bill to pay for the chair we had agreed I would buy; the woman at the stand next to him urged him to accept the money saying. “Se sirve! Se sirve!” (It—paper money—works! It works!)Nor was geography continuous. Knowledge of the country was both guarded and somewhat fantastic. It was impossible to obtain a map of the interior (guerrilla trouble). We spent one long afternoon negotiating our way into a bureaucratic building where, after signing our names in a notebook, we were allowed a glimpse at some antique maps that, in my memory at least, verged on watercolors. We hooked up with a Chinese archeologist from Iowa State who directed us to Sayache, which we reached after a six-hour busride and a trip across the Uxamachinto River in a mahogany dugout. There was one hotel in town, owned by a man who was also mayor, judge, and, clearly, king. He joined us for dinner. In the dining room we saw an old map that showed Guatemala with a large bulge stretching northeast to the Gulf of Mexico. The longlasting territorial dispute between Guatemala and Britain that resulted in the creation of British Honduras, which then became Belize, had been finally resolved, at least on this framed print which showed Belize as fully dissolved into Guatemala. When I asked the mayor about the map he replied that Belize belonged to Guatemala, had always been part of Guatemala. In response to some tentative question of mine about negotiation or tactics, he said of Belize, pounding his fist on the table, “Tomalo!” (Take it!)Alien, Point-Blank, Green, and ActualThe vagaries of mapping and the intermittent condition of value that these old home movies demonstrate strike me as suggestive for figuring the relations between poetry to its institutional or generic neighbors, theory and literary criticism. In a larger and more theoretically committed piece I would want to specify the different discursive regimes with some precision, but here I will use “theory” as a shorthand for everything that goes on in literature departments, even though this shortcircuits the large conflicts currently raging about the nature of the profession; “poetry,” in this same shorthand, should therefore equal what gets taught and reproduced in creative writing departments and writing workshops, though ultimately I will be proposing a differently oriented writing as what I want for poetry. But for now the words on the map will be “poetry” and “theory”—even if they also flood me with defensiveness and apathy, especially when it comes to theory. “Theory”? Postcolonial studies? Marxism? Queer theory? Deconstruction? Cultural studies? Film studies? It feels as if I were to introduce a specialist in gender in [End Page 158] eighteenth-century German theater as someone working with “words.” The desire to make discursive sentences wanders off...But one negative specific comes quickly to mind. I do not intend a binding allegory in which some primitive or pristine “Guatemala” stands for “poetry”—quite the contrary. There are, unfortunately in my view, many such constructions in which poetry is one or another brand of elemental exoticism. Poetry as a natural, irrational, sensuous, intuitive, musical, sonic bastion is an idea that is still widely diffused. One well-known example, which forced itself to mind as soon as I thought of those Guatemalan scenes, occurs in Wallace Stevens’s “Arrival at the Waldorf,” which ends by invoking an “alien, point-blank, green, and actual Guatemala.” Of course, it is a complex poem and as I read it, checking the context of the remembered line, my... (shrink)

Objective To ascertain and improve the understanding and use of chaperones among the patients of an English general practice (GP). Background Doctors have long been advised to have a third party present during intimate physical examinations. Little is known about the understanding of the term in the general population in England and the consequences of this for the promotion and use of chaperones in GP. We audited the understanding and use of chaperones in an English GP. The aim of the (...) study was to increase the awareness of the availability of chaperones in our population. Methods A questionnaire was given randomly to 100 patients attending the GP surgery. Participants were asked about their awareness of and frequency of requesting a chaperone while undergoing intimate examinations. Based on the initial results, a poster was designed for the waiting room to increase awareness. Data were collected with the same questionnaire to see if the new poster altered surgery attendees understanding and likely subsequent use of chaperones. Results In the initial audit, 29% of patients were unaware of the term chaperone, and only one person (1%) had ever requested a chaperone. After the introduction of a specially designed poster, the results showed an improvement in awareness from 71% to 89%, and the likely frequency of using a chaperone increased from 1% to 4%. Conclusion There is a need to improve the understanding of the general population about chaperones if we are to see greater use of chaperones in GP. (shrink)

Introduction: Consultation methods differ between medical practitioners depending on the individual setting. However, the central tenet to the doctor–patient relationship is the issue of confidentiality. This prospective survey highlights patient attitudes towards consultation methods in the setting of an ophthalmic outpatient department. Method: Questionnaires were completed by 100 consecutive patients, who had been seen by an ophthalmologist in a single room, which had a joint doctor–patient consultation occurring simultaneously. Results: Each question of all 100 questionnaires was completed. 58% of (...) patients were not concerned about sharing a consultation room with another patient or doctor. However, this did not equate to the 49% of patients who were indifferent to discussing issues in the joint consultation room. The most common factor was the general issue of confidentiality. Discussion: Ensuring total patient confidentiality may be deemed more necessary for certain medical specialties than for others, as seen in the practice of separate medical records in genitourinary medicine, for instance. However, with regard to patient consultations, the same level of confidentiality should be afforded across all specialties, and such factors should be borne in mind when planning outpatient clinics. (shrink)

In this paper, we argue that corruption research can benefit from studying corrupt transactions as a particular form of social interaction. We showcase the usefulness of a theoretical focus on social interaction by investigating online user reports on the website Frontdesktip.com. Through this focus, we can observe users sharing experiences and tips on the best ways of bribing hotel clerks in Las Vegas for attaining room upgrades and other complimentary extras. We employ a logistic regression analysis to examine (...) what factors influence the “successful” performance of this bribery practice. Our study makes a twofold contribution to existing research on corruption. First, on the theoretical level, we show that the typified and scripted character of social interactions can help explain the occurrence of corrupt transactions. Second, on a methodological level, our study showcases online self-reports as a useful data source to study corrupt transactions in an unobtrusive way. (shrink)

After noting Rorty’s rhetorical use of binary oppositions, which belies important continuities (and which is even reflected in the problem of radically opposing classical pragmatism to neopragmatism), I question the idea that progress in pragmatism must go through engagement with Rorty. I do so by arguing that Rorty failed to treat or outright rejected some important philosophical issues. I consequently challenge the famous model for pragmatist pluralism: the metaphor of a single hotel corridor opening to a plurality of rooms (...) with different people doing or believing different things. My paper also makes a case for the central importance of the aesthetic in Rorty’s philosophy despite his avowed rejection of aesthetics. (shrink)

It's nearly 10:00 AM on a Thursday morning and the courtroom is filled with more than 100 members of the jury pool. Court officials, state police officers, and defendants line the halls waiting to be called for pre-trial conferences and for jury selection to begin, then the fire alarm sounds. There is no obvious evidence of fire, no smoke, no shouts, and no other warnings. At the same time, no one announces that there is a fire drill in progress, that (...) the alarm is merely being tested, or that the alarm was pulled by accident. Sitting in the court room, what would you do? And, more importantly, why would you do it? What goes through your head when you hear the alarm? (shrink)

Following some years of declining health, Professor Maurice Crosland passed away on 30 August 2020 at the age of eighty-nine. Author of four influential scholarly monographs, Maurice played major roles in the British Society for the History of Science during the 1960s and 1970s as an active Member of Council, Honorary Editor of the British Journal for the History of Science and Honorary President of the society. His academic career began in 1963 with his appointment to a lectureship in the (...) History & Philosophy of Science at the University of Leeds. In 1974 the by-then Reader in History of Science secured a £100,000 Nuffield Foundation Grant with which to establish, for the first time, a dedicated history-of-science group at the University of Kent at Canterbury. Appointed Professor of the History of Science and Director of the Unit for the History, Philosophy and Social Relations of Science, his objectives during the five-year Nuffield-funded period were to focus on promoting the research activities of the new group, build up much-needed library resources in a university which was barely ten years old, and effect a transition to a research and teaching Unit that would offer modules to undergraduates in each of the three principal faculties. His own research centred on French science during and after the Napoleonic period, with particular emphasis on the history of chemistry and the formal institutions and informal networks of Parisian science. In 1984 his work was recognized with the American Chemical Society's award of the Dexter Prize, a rare achievement for a British scholar. (shrink)

‘Aristocratic’ transactional relationships are widespread in Nigerian universities. Nigerian cultures positively sanction repressive sexual activities among single unmarried adolescents until the wedding night. Modernity has confronted this cultural prescription, as youths, particularly girls, engage in transactional exchange in different contexts. However, the literature on transactional sex in the ivory towers is not rich enough on client recruitment and management among female undergraduates in Nigeria. This study utilised in-depth interviews to collect data from 30 purposively selected female undergraduates. Findings show that (...) the prostitution label is substituted for ‘runs-girls’, as a distinct social category. Clients are recruited on and off campus through mastery of routine activities of ‘aristocrats’ on campus, connection and referrals. The ‘aristos’ include wealthy postgraduate students, politicians, business men, and military personnel, among others. The sex work is undertaken on and off campus, in hotels or in the private residences of ‘runs-girls’. ‘Aristocratic’ transactional sex is sustained by erotic capital, including dexterous bed skills, such as sucking and romance. Luxury possessions, such as cars, BlackBerry phones and social security (job placement) after school life are the perceived derivable benefits of the erotic association. Provision of part-time jobs for vulnerable students could positively reduce transactional sex in ivory towers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:398 Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. Becky Thompson In the Slip Between Coasts Every morning the sea announces the day intimate crashing against the high stone wall we scan the waves for black dots floating becoming new moons and then arms waving rafts carrying the world Cartography in Greece after Zeina Hashem Beck’s “To Hamra” Here is the Oleander bush where a family (...) hid before their walk up the hill from Eftalou to Molyvos after eating eggs and croissants in my seaside room thirteen pairs of shoes lined up on the patio slate Here is seaweed beach where one raft landed in perched sea another behind carrying the elders and children Becky Thompson 399 stalled, taking in saltwater coast guard delayed in Petra sea ten, twenty, fifty minutes shouting and prayer finally a rescue exhaustion lining every pore They say memories fade, mine multiply, a cacophony tossing Here is the beach where the Syrian man strapping muscles and whimsical eyes gave me his salmon shirt with a finely made collar his friends ordered selfies called home saying yes began the climb to Mytilini defiant, alive There were moments of freedom jubilation in the air rest on the beach with dates and cool water children tossing stones into the sea lovers sitting close, feet in Europe cell phones that worked, telegraphing safety What does it mean to miss the intimacy of disaster? Now rescue teams mechanic pick-ups intercept rafts before shore whisk people away to Skala Sikamia then Moria no time to touch sand rest with the breeze Here is life jacket graveyard next to the dump perched between two hills above the seacoast 400 Becky Thompson a German couple toots up on a scooter taking photographs while eating nine-grain toast academics from the US talking postmodern flight a film crew from Barcelona picking through jackets amid ashes and twisted plastic crows memorize the wind as two garbage trucks trudge up the road bringing old fish and more jackets I wave at the sheepherder as I walk down the hill Save the people, bury the dead, photograph the remains, repeat Here is the hotel by the beach in Petra where children would run to the iron swing set let the arc carry them then jump off dance in the sprinklers the owner emerging mumbling generations handing us apricots and bottles of water Here is the computer store where the young Greek tells me he can’t copy my poems since he sees Arabic words menacing the page Here is my patience as I sit in his smoke ask him about his family and dancing Becky Thompson 401 eye his automatic weapon perched next to a wooden door Down the highway is a new bar next to Moria. Of course. Here is barbed wire that doubles as a fence a clothesline for diapers space to toss out rotten food Here is the highway lined with pickups and two-door sedans young Greek employment guarding people in tents Here is a baby carriage a young mother pushes that seconds as a grocery cart and shade for her five-year-old a step up from before when babies were in arms toddlers walking Here is the refugee people center where they built a strong swing set men lifting weights growing rings around their arms women stretching out in a new room eyeing the Lesvos sky Here are the streets of Mytilini looking like Beirut the Greeks who ran from Turkey the Turks who kicked out Afghans the Afghans who wish they were Syrian 402 Becky Thompson Syrians joined by Congolese— teachers, holy seers, and men selling hats. The sidewalk sparkles an atlas in transit.... (shrink)