In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.1 (2004) 110-112 [Access article in PDF] Terry Pinkard. German Philosophy, 1670-1860: The Legacy of Idealism. New York: Cambridge University Press, 2002. Pp. x + 382. Cloth, $65.00. Paper, $23.00. In one respect, the story related in Terry Pinkard's new book on German idealism is a very old-fashioned one of the "from Kant to Hegel" sort, inasmuch as Hegel's system is (...) here presented as the logical culmination of a single movement of thought, initiated by Kant and carried forward, first by Fichte and then by Schelling; and post-Hegelian philosophy is interpreted as a desperate reaction to the apparent failure of the grand idealist project. In other respects, however, Pinkard offers a welcome variation on this familiar tale by including chapter on less familiar figures and by interpreting the idealist project in the context of some current philosophical concerns.A distinctive feature of this new history is its powerful narrative thrust. Pinkard organizes his tale around a single, central issue, which he calls the "Kantian paradox." The paradox in question is that of self-legislation or self-authorization, a paradox implicit in Kant's claim that one can be bound by laws of which one is also the free author. Though this paradox obviously pertains to Kant's moral philosophy, Pinkard shows that it also extends to the application of any rational norms whatsoever. Pinkard's object is to show how each of the thinkers he discusses responded to this "Kantian paradox," culminating in Hegel's alleged recognition that this paradox is "the basic problem that all post-Kantian philosophies had to solve" (226) and in his effort to provide an essentially social solution to the problem of reason's self-authorization.The book commences with a superb essay on "'Germany' and German Philosophy," examining the relation of "German philosophy" to "Germany" during the period in question, an essay that would be an ideal first assignment for any course on nineteenth-century philosophy. Each of the four major parts of the book begins with a similarly useful, short historical/contextual introduction.Part One is a brilliant summary of the Kantian revolution, not just in epistemology and metaphysics, but also in moral philosophy, aesthetics, and teleology. Without bogging down in unnecessary details or arcane scholarly disputes, Pinkard manages to provide a nuanced account of Kant's arguments and conclusions, emphasizing those tensions and problems in Kant's writings that occupied the attention of the philosophers who followed.Part Two is devoted to the pre-Hegelian "post-Kantians," not just Fichte and the early Schelling, but also Jacobi, Reinhold, Hölderlin, Novalis, Schleiermacher, Frederich Schlegel, and Fries. Pinkard's discussions of these lesser-known figures is welcome and illuminating. The same cannot, unfortunately, be said of his discussion of Fichte. Though the paradox of self-authorization is obviously a central Fichtean concern, Pinkard's account of the Wissenschaftslehre seriously distorts Fichte's project and accomplishments—beginning with Pinkard's failure to distinguish between the Wissenschaftslehre itself, as the name for a complete system of philosophy, and the 1794/95Foundations of the Entire Wissenschaftslehre, which is concerned only with the rudimentary foundations of the same. (This leads him to the mistaken view that Fichte's treatises on right and ethics are "revisions" of the Wissenschaftslehre, [End Page 110] rather than systematic branches of the same.) The account of the Foundations is itself skewed, inasmuch as it fails to take account of how Part III of this text provides a "practical" solution to the "theoretical" impasse of Parts I and II. Instead, Pinkard offers an interpretation of Fichte's early system that simply ignores the centrality thereto of willing and striving, makes no mention of the key role of productive imagination, and characterizes Fichtean intellectual intuition as "an insight into the necessary structure of things themselves" (110). Though Pinkard is aware that the overwhelming majority of Fichte scholars reject such an interpretation, he nevertheless advances it, claiming the right to "argue the opposite view." Unfortunately, he keeps his "argument" to himself... (shrink)

ExcerptThe great dramatic work of art that bears the name Hamlet is, in the core of its action and the main character, nothing other than the dramatized story of a real king named James, James Stuart, son of Mary Stuart and her husband. James's father was murdered, and his mother married the murderer shortly afterward. What Mary Stuart, the mother of King James, did was bad, almost as bad “As kill a king, and marry his brother.” Shakespeare's Hamlet drama is (...) grounded then in a direct relation to the times. It contains the kind of dramatization that results from participation…. (shrink)

A profoundly original philosophical detective story tracing the surprising history of an anecdote ranging across centuries of traditions, disciplines, and ideas Red Sea-Red Square-Red Thread is a work of passages taken, written, painted, and sung. It offers a genealogy of liberty through a micrology of wit. It follows the long history of a short anecdote. Commissioned to depict the biblical passage through the Red Sea, a painter covered over a surface with red paint, explaining thereafter that the Israelites had (...) already crossed over and that the Egyptians were drowned. Clearly, not all you see is all you get. Who was the painter and who the first teller of the tale? Designed as a philosophical detective story, Red Sea-Red Square-Red Thread follows the extraordinary number of thinkers and artists who have used the Red Sea anecdote to make so much more than a merely anecdotal point. Leading the large cast are the philosophers, Arthur Danto and Søren Kierkegaard, the poet and playwright, Henri Murger, the opera composer, Giacomo Puccini, and the painter and print-maker, William Hogarth. Strange companions perhaps, until their use of the anecdote is shown as working its extraordinary passage through so many cosmopolitan cities of art and capital. What about the anecdote brings Danto's philosophy of art into conversation with Kierkegaard's stages on life's way, with Murger and Puccini's la vie de bohème, and with Hogarth's modern moral pictures? Lydia Goehr explores these narratives of emancipation in philosophy, theology, politics, and the arts. What has the passage of the Israelites to do with the Egyptians who, by many gypsy names, came to be branded as bohemians when arriving in France from the German lands of Bohemia? What have Moses and monotheism to do with the history of monism and the monochrome? And what sort of thread connects a sea to a square when each is so purposefully named red? (shrink)

Recently there has been a growing interest in German philosophy, but most of this interest has focused on Kant and his successors. With the exception of Leibniz, most Anglo-Saxon philosophers are ignorant of what happened in German thought before Kant. Beck has written a model history of German philosophy from Albertus Magnus to Kant. He brings enormous erudition and good judgment to the task. He clarifies for us historical relations and continuities without succumbing to the temptation of (...) writing short atomistic capsule descriptions or the story of a single Volkgeist. In the chapters on Leibniz and Kant he succeeds both in helping us to see their historical role and the systematic integrity of their thought. Some may feel that the ambitiousness of this history requires slighting some important figures and currents in German philosophy. But no matter how briefly Beck discusses a thinker or a movement, he is always illuminating. There is a helpful informal bibliography. Beck's work is superb, and we might have expected that one of our more distinguished university presses would have exercised the same care in publishing this book that Beck has taken in writing it. Unfortunately the print is extremely difficult to read and this is aggravated by the inferior quality of the paper. Costs of printing books are rising all the time, but it is sad when university presses do not hold to the highest standards, especially when publishing such an important book as this one.--R. J. B. (shrink)

A key factor that affects whether and at what age children can demonstrate an understanding of false belief and complement‐clause constructions is the type of task used (whether it is implicit/indirect or explicit/direct). In the current study, we investigate, in an implicit/indirect way, whether children understand that a story character's belief can be true or false, and whether this understanding affects children's choice of linguistic structure to describe the character's belief or to explain the character's belief‐based action. We also measured (...) children's understanding of false belief in explicit false‐belief tasks. English‐ and German‐speaking young 4‐ and 5‐year‐olds as well as English‐ and German‐speaking adult controls heard complement‐clause constructions in a story context where the belief mentioned in the complement clause (e.g., “He thinks thatshe's not feeling well”) turned out to be false, true, or was left open. After hearing the test question (“Why does he not play with her?”), all age groups were most likely to repeat the whole complement‐clause construction when the belief turned out to be false. That is, they tended to explicitly refer to the character's perspective and say “He thinks…” When the belief turned out to be true, participants often reverted to a simple clause (“She's not feeling well”). Furthermore, children with better short‐term memory were more likely to repeat the whole complement‐clause construction. However, children's performance in explicit false‐belief tasks showed no relation to their performance in our novel, more implicit/indirect, task. Whether or not the complement clause was introduced by athatcomplementizer only had a small effect on the German adults’ responses, where leaving out the complementizer also changes the word order of the complement clause. Overall, our results suggest that task characteristics and individual differences in short‐term memory affect children's ability to demonstrate false‐belief understanding and to express this understanding linguistically. (shrink)

Known today mostly as an author of Romantic short stories and fairy tales for children, Prince Vladimir Odoyevskiy was a distinguished thinker of his time, philosopher and bibliophile. The scope of his interests includes also history of magic arts and alchemy, German Romanticism, Church music. An attempt to understand the peculiarity of eight specific modes used in chants of Russian Orthodox Church led him to his own musical theory based upon well-known writings by Zarlino, Leibniz, Euler, Prony. He (...) realized his theoretical ideas in an enharmonical piano with nineteen notes for every octave. His call for a different musical scale remained largely ignored in the nineteenth century, until the topic was raised anew by twentieth-century composers and musicians. (shrink)

Resumen: Si bien el interés del filósofo Walter Benjamin por el espacio urbano viene motivando desde hace tiempo estudios y análisis exhaustivos, no sucede otro tanto con sus numerosas reflexiones sobre el espacio natural. Tratando de suplir esta carencia, el artículo toma como núcleo un corpus de escritos del autor que dan cuenta de ese interés -fragmentos ensayísticos, relatos breves, diarios, correspondencia- con el fin de evaluar las variables filosóficas que se manifiestan en el contacto del pensador alemán con el (...) paisaje y la manera en la que los escenarios naturales acogen y determinan su talante y su trayectoria personal.: Although the interest of the philosopher Walter Benjamin for the urban space has been motivating exhaustive studies and analysis for a long time, the same cannot be said of his many reflections on the natural space. Trying to fill this gap, the article takes as its core a corpus of writings by the author that account for this interest -essay fragments, short stories, diaries, correspondence- in order to evaluate the philosophical variables that become evident in the contact of the German thinker with the landscape and the way the natural settings receive and determine his mood and his personal trajectory. (shrink)

E. T. A. Hoffmann is one of the most famous representatives of early German horror literature. He has been both, inspired by its predecessors, as well as having influenced the work of many of his successors, and hence the development of the whole genre. The present article examines a story by E. T. A. Hoffmann, “Vampirismus” from the collection of short stories “Serapions Brüder”. Emphases are, on the one hand, on the mechanisms that cause readers’ fear and uncertainty (...) and, on the other hand, the peculiarity of the vampire or Nachzehrer figure and their function in the story. Firstly, it will be shown that the vampire depicted in the work is not actually a vampire. We find here a ghoul; that is a demon from Arab culture. However, the ghoul has more to do with the monster outlined by Antoine Galland in his translation of the “One Thousand and One Nights” than with traditional folk beliefs. Secondly, the author comes to the conclusion that Hoffmann has functionalized the Horrible. This element does not work by itself, but serves the author as the background of the action. And he is using this background to let the characters reveal all their weaknesses and dark sides. The violation of the order ruling in the world as it is represented engages the reader and at the same time raises his fear. The resulting excited feelings and general alienation are further reinforced for the figure of the Nachzehrer that occurs instead of a formerly innocent, graceful girl. The emergence of the supernatural – the final confirmation of the breach of order – is responsible for the effect just described. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 379 the minister of a very influential and liberal congregation. In 1860 he began publication in Cincinnati of The Dial, successor to the New England transcendentalist journal, and used its pages to promote religious liberalism, philosophical transcendentalism, and social reform. In 1863 he went to London where he became the head of the Ethical Society. Under the influence of Feuerbach and "left-Hegelians" he travelled widely in the (...) interests of "free thought." The most amazing of these four, however, is August Willich: an East Prussian soldier, ready to fight again to restore the 1848 revolution in Germany, discouraged by Marx from doing so, emigrating to Cincinnati to raise funds among the German 1848 refugees there and urging them to continue the lost cause in Germany, then wholeheartedly fighting for the Union Cause as a General in the Civil War, and finally joining the Populist revolt. As Easton points out, these four all illustrate the close relation between Hegel and the spirit of 1848. In addition to the stories of these men and their ideals, the volume contains a hundred pages of excellent specimens of their writngs, and copious references to obscure source-materials. The book is both a valuable reference work and an entertaining set of short stories. I--IERBERTW. SCHNEIDER Claremont, CaliJornia Theory of. Man. By Francisco Romero. Translated from the Spanish by William F. Cooper, with an Introduction by William J. Kflgore. (Berkeley and Los Angeles: University of California Press, 1964. Pp. xxix + 324. $8.00.) The late Argentinian philosopher Francisco Romero, who died unexpectedly in 1962 after a brilliant career of more than thirty years of teaching and writing, was by common acclaim of his fellow-philosophers in Latin America their most distinguished philosopher in recent years. He received many honors and distinctions both at home and abroad, including the grand award of honor of the Argentinian Society of Writers. The most eminent philosophers in Latin American prepared a notable Festschri]t in honor of his 70th birthday, whose publication was unfortunately delayed and, therefore, could not be presented to him personally in his life time.1 Franci~o Romero was in fact as well as in acclaim the "Dean of Latin American Philosophy." It was high time that his central work Teorga del Hombre 2 should be translated. It is his magnum opus and represents the most comprehensive and systematic development of his philosophy. Romero was fortunate in having as his translator William F. Cooper who knew Romero personally, and was intimately acquainted with his philosophy. In addition, he had the unusual privilege of doing much of the translation in Romero's own library in Buenos Aires. In short, the translation is a labor of love and esteem.8 I myself had the privilege of coming to know Professor Romero in 1943, when as secretarygeneral of our Philosophical Association I was commissioned to make contact with our Latin American fellow-philosophers with a view to exploring the possibility of organizing InterAmerican congresses of philosophy and of forming an Inter-American society of philosophy, both of which projects, in due season, were accomplished. Romero welcomed these undertakings with characteristic enthusiasm and offered his fullest cooperation and support. He had always been a most active and indefatigable promoter of better understanding between North and South America and, especially, of closer cooperation between the philosophers of 1Homenaje a Francisco Romero, Faculdad de Filosofia y Letras, Universidad de Buenos Aires. Editorial Losada, Buenos Aires, 1952. 8In further attestation of Professor Cooper's special qualification for this translation it should be mentioned that he prepared for the Homenaje, already referred to, the most complete, up-to-date bibliography of Romero's extensive publications as well as an inventory of Romero's many works still in progress at the time of his death. 380 HISTORY OF PHILOSOPHY the two Americas. All members of our association who came to know him in Buenos Aires were warmly welcomed, and no doubt also experienced, as I did, the warm and generous hospitality of Professor Romero and his wife in their home in Martinez. Francisco Romero was not only professor of philosophy at the Universities of Buenos Aires and La Plato, but was also... (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Though ordinary aesthetics is self-evident as a principle, fruitful as a method, it remains partly undefined. It seems the major difficulty is to mark out its territory, so much so as, after Wittgenstein, it endorses the most part of what used to pertain to ethics. Our hypothesis is that starting from art forms may prove helpful in defining ordinary aesthetics; and the article suggests that short-story writing is a paradigmatic pathway to ordinary aesthetics as it is to the ethical (...) unsaid. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments PLATONIC ELEMENTS IN KAFKA'S "INVESTIGATIONS OF A DOG" by Lewis W. Leadbeater Few critics of Kafka, and certainly few German critics of Kafka, have been willing to allow for much of any classical influence on his works. There are exceptions, but for the most part these commentators can bring themselves to admit only the fact Kafka endured with distaste his lengthy involvement with the classical (...) languages and literature and that, if in any way, he was influenced only in terms of syntax or style.1 Yet it is certain that Kafka read classical literature with interest and that he was well acquainted with classical epic, tragedy, philosophy, and mythology. The wandering Odysseus, the sea god Poseidon, tortured Prometheus —all these and other classical figures are to be found in his works. Indeed, a recent interpretation of The Trial involves a discussion of it in comparison with the trial of Socrates.2 The fact is that Kafka knew Plato's Apology and counted as one of his prized possessions a copy of Plato's Phaedrus. He and Brod read Plato together in high school.3 Are we really to assume, then, that, given Kafka's philosophical bent, he saw no relationship between Plato and the later philosophers, like Kierkegaard for instance, with whom he was quite taken, and that given his fertile mind and penchant for metaphor, Kafka reflects only Platonic syntax?4 Quite the contrary; we must, I think, cede his classicism to Kafka, and in the discussion which follows I should like to point out that in one of the short stories, "Investigations of a Dog," parable and metaphor blend as well as they do because of Platonic influence, and especially that of the Apology and the Phaedrus. Kafka's animals pervade his works in both metaphor and simile. Gregor Samsa awakes one morning to find himself transformed into a gigantic beetle; Joseph K dies, at the end of his trial, like a dog, and it is a questioning canine which investigates the meaning of dog104 Lewis W. Leadbeater105 ness in "Forschungen eines Hundes." Generally the animalistic metaphor involves removal, alienation, and isolation— a loss of kinship with humanity to be sure, but more important a loss of communication, an inability to communicate, and hence an emphasis on all-encompassing, frustrating silence. The natural result for these people turned animal is an involvement in a process of severe introspection frequently linked with the pursuit of some idea or ideal which will provide a hitherto unknown, transcendent nourishment for a famished, alienated soul. Such is certainly the case with Gregor Samsa and quite possibly the case with Joseph K; it is in fact such pursuits which lie at the heart of the researches of our investigating Dog. Though any attempt to pinpoint the source of Kafka's penchant for animalistic metaphors is quite certainly futile, one might well posit as paradigmatic the alienation plays of Aristophanes involving animals, and certainly the notion of a psychological link between man and beast is present in Plato's Phaedrus, a dialogue in which the soul metaphor itself involves horses, and one in which there is considerable discussion of the interchangeability of the souls of men and beasts.5 As noted above such interchangeability or transformation occurs regularly in Kafka; within the ugly form of beetle lay the psyche of Gregor Samsa. Perhaps within the not-so-ugly canine form of our investigating hound lies the soul of Socrates. Consider for a moment the character of our Dog in light of Plato's Socrates as he appears in the Apology. To begin with, the Dog, as he tells us, is a solitary creature, withdrawn and involved solely in his "investigations" (p. 278).6 In addition, he fully realizes that he is different from the rest of his species (p. 279) and that indeed at times he feels rejected by his kind, realizing as he does that his investigations run counter to the traditional values of his species, a species by which he had hoped at one time to be accepted with great honor (p. 308). What he has capitulated to is "questions" which, furthermore, have quite removed him from normal... (shrink)

At the age of twenty-five, Primo Levi was sent to Hell. Levi, an Italian chemist from Turin, was one of many swept up in the Holocaust of World War II and sent to die in the German concentration camp in Auschwitz. Of the 650 people transported to the camp in his group, only 15 men and 9 women survived. After Soviet liberation of the camp in 1945, Levi wrote books, essays, short stories, poetry, and a novel, in which (...) he painstakingly described the horrors of his experience at Auschwitz. He also spent the rest of his life struggling with the fact that he was not among those who were killed. In _Primo Levi and the Politics of Survival,_ Frederic D. Homer looks at Primo Levi's life but, more important, shows him to be a significant political philosopher. In the course of his writings, Levi asked and answered his most haunting question: can someone be brutalized by a terrifying experience and, upon return to "ordinary life," recover from the physical and moral destruction he has suffered? Levi used this question to develop a philosophy positing that although man is no match for life, he can become better prepared to contend with the tragedies in life. According to Levi, the horrors of the world occur because of the strength of human tendencies, which make relationships between human beings exceedingly fragile. He believed that we are ill-constituted beings who have tendencies toward violence and domination, dividing ourselves into Us and Them, with very shallow loyalties. He also maintained that our only refuge is in education and responsibility, which may counter these tendencies. Homer calls Levi's philosophy "optimistic pessimism." As Homer demonstrates, Levi took his past experiences into account to determine that goodwill and democratic institutions do not come easily to people. Liberal society is to be earned through discipline and responsibility toward our weaknesses. Levi's answer is "civilized liberalism." To achieve this we must counter some of our most stubborn tendencies. Homer also explores the impact of Levi's death, an apparent suicide, on the way in which his work and theories have been perceived. While several critics discount Levi's work because of the nature of his death, Homer argues that his death is consistent with his philosophy. A book rich in brutally honest philosophy, _Primo Levi and the Politics of Survival_ compels one to look at serious questions about life, tragedy, optimism, solidarity, violence, and human nature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Borges on Language and TranslationJon StewartAlthough Jorge Luis Borges had years of philosophical training and expressed a number of philosophical theories in his literary works, he never published a philosophy treatise. The result is that his oeuvre has often been viewed as purely literary and been largely neglected by trained philosophers. However, by ignoring the philosophical aspects of Borges’s thought, criticism has neglected a vast dimension of his work (...) and has thus frequently misunderstood and misinterpreted many aspects of it. As I have tried to demonstrate in an earlier article, 1 there are important philosophical themes in the short stories of Borges, which have yet to be considered. In the present essay, I take up one of these heretofore neglected themes.We can find perhaps no better example of the literary exposition of Borges’s philosophical ideas than in his short story or cuento, “Averroes’ Search.” 2 There Borges reconstructs for us a culture and an age radically different and temporally distant from our own. He recounts the story of Averroes, the Arab philosopher living in Spain in the second half of the twelfth century. The history of philosophy knows Averroes as one of the great medieval commentators on the works of Aristotle. Borges recreates the historical moment and the passion of Averroes in his task of translating and providing a commentary for the texts of the great Greek philosopher who remains forever distant from him. The story takes as its point of departure Renan’s observation about a curious misinterpretation of Aristotle found in Averroes: “S’imaginant que la tragédie n’est autre chose que l’art de louer...”(p. 180). Borges poses [End Page 320] the question of why Averroes, who had dedicated his life to understanding the work of Aristotle, had so badly misunderstood the concept of tragedy treated by the Greek philosopher. To answer this question, Borges brilliantly employs the faculty of historical imagination in order to think himself back into Averroes’s particular time period and cultural context. The short story presents us with a thesis about the intimate connection between culture and language and the ultimate futility of translation and crosscultural knowledge and comprehension. In the present essay, I wish to argue that the point of Borges’s story about the fate of Averroes is (1) to refute the common view which sees language as an entity neutral with respect to culture and history, and (2) to bring to light the comprehensive nature and scope of particular culturally and historically determined ways of thinking and perceiving the world. These philosophical elements have been neglected by the various literary scholars who have treated the works of Borges. 3 Moreover, Borges anticipates many of the most celebrated epistemological and hermeneutical theories of our day from philosophers such as Gadamer, Davidson and Quine, and presents them in literary form.IThere is a common view according to which the manifold languages of the various peoples and cultures of the world are more or less interchangeable. According to this linguistics of common sense, language is something secondary and accidental which is only an inessential corollary to our basic understanding and perception of the world. Human perception and cognition are thought of as constants for all humans everywhere. A dog will be perceived as a dog regardless of time period, place or culture, and the words we create to represent “dog” in the medium of language are secondary and even arbitrary. As a result, individual words in one language correspond to individual words in another. Dog in English corresponds straightforwardly to Hund in German or perro in Spanish, and nothing could be more simple. The gifted translator is merely someone with a great capacity to memorize words and to effect rapid replacement changes, and translation is regarded as a more or less mechanical process with little room for creativity. The diversity of languages is neither epistemologically necessary nor important, but rather explained as an historical accident as in the etiological tale of the Tower of Babel. Language has no necessary connection to the time period in which it is spoken or to the culture of [End Page 321] the people who speak it. That we... (shrink)

In 1977 a German literary scholar, Astrid Lange-Kirchheim, published an article announcing an astonishing discovery: credible evidence exists to suggest that Kafka's famous disturbing short story, `In the Penal Colony', published in 1919 but first written in 1914, echoes and reworks, in several of its key images and turns of phrase, elements of an essay published in 1910 in the German literary magazine, Die neue Rundschau, bearing the title `Der Beamte' (`The Civil Servant', or `The Official' or (...) `The Functionary') by Alfred Weber, younger brother of Max Weber. Most Kafka scholars today accept Lange-Kirchheim's findings and recognize the importance of `Der Beamte' as at least one crucial reference point for Kafka's writing. Yet little wider awareness of the connection seems to exist among historians of sociology and other scholars of the history of the human sciences. This article comprises a summary of Lange-Kirchheim's analysis together with a complete annotated translation of `Der Beamte' by Alfred Weber in English. (shrink)

The paper contains a short story which is inconsistent, essentially so, but perfectly intelligible. The existence of such a story is used to establish various views about truth in fiction and impossible worlds.

The issue of words combinations draws attention of linguists starting from the second half of the XX c. until the present day. This study is focused on the research of semantic mechanisms of unusually combined lexemes and unexpected collocations in English postmodern short-short stories. Reconsideration of the literary past and ironic view on traditional poetic canons are reflected in postmodern literary texts due to the principles of postmodern poetics. Being distinctive feature of postmodern literature in general, uncertainty creates (...) multiplicity of meanings of entire literary text, as well as separate unexpected collocations, by means of unusually combined lexemes. The aim of the study is to elaborate the phenomenon of valence violation, created by unusually combined lexemes and unexpected collocations in English postmodern short-short stories. To achieve this goal, it is necessary to define the notion of valence and lexeme compatibility, to identify types of valence violation in lexemes combinations, and to provide their possible interpretation. Functioning in English postmodern short-short stories such language units widen boundaries of their usage and their combinatorial profile. Unusually combined lexemes focus the reader’s attention and provoke a cognitive mechanism of continuous searching for a hidden meaning of unexpected collocations and the general message of a literary text. In this research unusually combined lexemes are regarded as special markers of postmodern short-short story genre for which violation of text structure, violation of usual relations between lexemes in logic, semantic and syntactic aspects are quite common. (shrink)

This selection of short stories in world literature by both classical and contemporary writers offers a window to a wide range of ethical questions. The target audience are students in humanities courses in high school or college. The stories are organized by regions and by themes. Each story is linked up with articles in newspapers and magazines that address the theme raised in the short story. A few guiding questions are included to start the discussion.

From the 1890s on, the atheist philosopher F. Nietzsche exerted a profound and enduring impact on Russian religious, cultural, and social reality. The religious philosopher V.S. Solov'ëv perceived Nietzsche's thought as an actual threat to Russian religious consciousness and his own anthropological ideal of Divine Humanity. He was especially preoccupied with the idea of the Übermensch since sometwo decades before the Nietzschean Übermensch was popularized in Russia, Solov'ëv had already developed his own interpretation of the sverkhchelovek.

Jewish short stories are explained from the viewpoint of many-valued logic. On the basis of some examples, we show, how their contents may be logically interpreted.

The collection includes five short stories that do not look to the past, to modernism. They do not entertain but defend the philosophical thinking. The reader notices she or he considers Stoic and Nietzschean human views and moral values and the nature of language. The short stories ask what the relationship between the language and the world is and what proper names mean, for instance. Everyone needs piece of mind.

The photocycle of visual opsins is essential to maintain the light sensitivity of the retina. The early physical observations of the rhodopsin photocycle by Böll and Kühne in the 1870s inspired over a century's worth of investigations on rhodopsin biochemistry. A single photon isomerizes the Schiff‐base linked 11‐cis‐retinylidene chromophore of rhodopsin, converting it to the all‐trans agonist to elicit phototransduction through photoactivated rhodopsin (Rho*). Schiff base hydrolysis of the agonist is a key step in the photocycle, not only diminishing ongoing (...) phototransduction but also allowing for entry and binding of fresh 11‐cis chromophore to regenerate the rhodopsin pigment and maintain light sensitivity. Many challenges have been encountered in measuring the rate of this hydrolysis, but recent advancements have facilitated studies of the hydrolysis within the native membrane environment of rhodopsin. These techniques can now be applied to study hydrolysis of agonist in other opsin proteins that mediate phototransduction or chromophore turnover. In this review, we discuss the progress that has been made in characterizing the rhodopsin photocycle and the journey to characterize the hydrolysis of its all‐trans‐retinylidene agonist. (shrink)

The new concept of embodied cognition theories has been enthusiastically studied by the cognitive sciences, by as well as such disparate disciplines as philosophy, anthropology, neuroscience, and robotics. Embodiment theory provides the framework for ongoing discussions on the linkage between “low” cognitive processes as perception and “high” cognition as language processing and comprehension, respectively. This review gives an overview along the lines of argumentation in the ongoing debate on the embodiment of language and employs an ALE meta-analysis to illustrate and (...) weigh previous findings. The collected evidence on the somatotopic activation of motor areas, abstract and concrete word processing, as well as from reported patient and timing studies emphasizes the important role of sensorimotor areas in language processing and supports the hypothesis that the motor system is activated during language comprehension. (shrink)

The article discusses the features of the love-passionate plot in the stories of Ivan Bunin. The question is raised why Bunin, describing the strange or immoral acts of the heroes, does not condemn them, and in general draws a bright, sometimes sad atmosphere. Analysis of L. S. Vygotsky’s short story “Easy Breathing” by Bunin allows us to express an idea about a certain strategy for building Bunin’s works. Based on this consideration, the methods by which Bunin achieves the effect (...) of perception of the characters he needs are analyzed. There are three such techniques: the convergence of the actions and behavior of the characters with the life and breath of nature, the depiction of the life of the characters from the point of view that Bunin needs, and the endowment of the characters with personality traits that exclude ethical characteristics and problems. The scientific explanation of Bunin's artistic constructions is based on the analysis of mental trauma (caused by the departure of the first wife and the horrors of the revolution), artistic understanding of the events that interest the writer, and the peculiarities of the conceptualization of these events. In addition, it is proposed to take into account that Bunin began and became famous as a poet, and as a poet he composed his prose partly according to the laws of versification. (shrink)

Philosophers of literature have neglected the short story. I argue that this neglect is unwarranted. The short story raises interesting philosophical questions that deserve attention. If philosophers only ever focused on one form of narrative prose—the novel—they would end up with a distorted picture of literature.

In American ethnic literature of the last three decades of the 20th century, recurrent themes of mobility, travel, and “homing in” are emblematic of the search for identity. In this essay, which discusses three short stories, Alice Walker’s “Everyday Use,” Louise Erdrich’s “The World’s Greatest Fishermen,” and Daniel Chacon’s “The Biggest City in the World,” I attempt to demonstrate that as a consequence of technological development, with travel becoming increasingly accessible to ethnic Americans, their search for identity assumes wider (...) range, transcending national and cultural boundaries. (shrink)

In online communication, writers incorporate into fictional representation imaginaries that arise from the interaction between various artistic manifestations. This paper explores the work of two spanish authors, Patricia Esteban Erlés and Albert Soloviev in order to study the social impact and ethical aspects of hypermedial short stories in the virtual space, since their works function as vehicles for social criticism. At the same time, the paper addresses fundamental questions associated with the understanding and interpretation of hybrid narrative microtexts.

This study examines feedback provided by an English teacher to Chilean secondary student texts, in the context of writing short stories collaboratively in an English as a foreign language class. The study aimed to analyze students’ decisions about the teacher’s types of feedback on their short stories. For this investigation, and under the context of qualitative research, there were analyzed 6 consecutive drafts of the students’ short stories, of a public high school in Chile. This is a (...) qualitative research with an action research design. The data collected was analyzed using Straub and Lunsford categories to describe the impact of the teacher’s written feedback on students’ decisions. In terms of students’ decisions, participant students adopted most of the teacher’s comments. The student’s texts evidenced progress, but still, regardless the feedback provided, they presented some grammatical and organizational issues. (shrink)

We present an analysis of counterfactuals in terms of stories and combine it with an account similar to Walton’s account of truth in fiction to yield truth conditions for counterfactuals. We discuss unusual features of this account, and compare it to other main approaches. In particular, we argue that our analysis succeeds in accounting for counterpossibles and counterfactuals with true antecedents while the other two main approaches fail, and we give reasons for thinking that it is important to have an (...) adequate account of these two areas. (shrink)

This is a book about how William James and Milton Erickson have helped shape the modern conceptualization of human consciousness and its care. With both men cast from the archetypal mold of a wounded healer and a coming-of-age odyssey, it should not surprise us that James and Erickson converge on the central idea that "...the secret to the care of human consciousness is the utilization of who we are toward some practical end." It does not matter if you are a (...) serious student of James and Erickson or someone who is freshly introduced to their work; this book offers clarity and a deeper understanding of what Jamesean psychology looks like when masterfully applied to clinical care. While numerous books have been written about Erickson, they often revolve around spectacular success stories-making Erickson somewhat of a myth and therefore inaccessible. By learning more about the stories and principles that informed young Erickson, we are better able to appreciate and learn from the common sense nature of his work. (shrink)

This article analyses little-known short stories of modern Ukrainian writers Valerian Pidmohylny and Mykhailo Yatskiv in the context of the 20th century existentialism. It can be considered as a cultural phenomenon which combines philosophy with literature. Pidmohylny’s short stories were significantly influenced primarily by the ideas of the European philosophers of the late 19th and early 20th centuries. Therefore, we can search for similar motives in the works of Pidmohylny and the existentialists, which developed under the influence of (...) the ideas of Schopenhauer, Kierkegaard, and Nietzsche. Also, the authors consider Yatskiv’s short stories through the prism of the core concepts of existentialism, namely, fate and death. Pidmohylny and Yatskiv can be assigned to existential writers on the basis of retrospective analysis of the themes of their short stories and the thematic areas of 20th century existentialism. (shrink)