This author sets out to prove that the whole of western philosophy, from the cosmologists of Ancient Greece to the existentialists of the 20th century may be found in the pages of Winnie-the-Pooh and The House at Pooh Corner.

The expression "artificial animal" denotes a range of different objects from teddy bears to the results of genetic engineering. As a basis for further investigation, this article first of all presents the main interpretations and traces their systematic interconnections. The subsequent sections concentrate on artificial animals in the context of play. The development of material toys is fueled by robotics. It gives toys artificial sense organs, limbs, and cognitive abilities, thus enabling them to act in the real world. (...) The second line of development, closely related to research into Artificial Life, creates virtual beings "living" on computer screens. Themost essential difference between these variants are the sense modalities involved in interaction. Virtual beings can only be seen and heard, whereas material toys can be touched as well. Therefore, the simulation of haptic qualities plays an important role. In order to complete the proposed typology, two further areas are outlined, namely artificial animals outside play and "artificial animals in the medium of flesh" which are alive but designed and created by man. Research on artificial animals belongs to an extended notion of ecosemiotics, as they are part of ecosystems which may themselves be virtual such as the Internet. (shrink)

In this splendidly preposterous volume, John Tyerman Williams sets out to prove beyond all reasonable doubt that the whole of Western philosophy - from the ancient Greeks to the existentialists of this century - may be found in the works of A. A. Milne. Williams shows how Pooh - referred to here as "the Great Bear" - explains and illuminates the most profound ideas of the great thinkers, from Aristotle and Plato to Sartre and Camus.

This contribution offers a survey of the modern African theological discourse on the Trinity as a distinctive Christian doctrine of God. It is a systematic narrative review of primary literature on the doctrine of the Trinity in modern African theology with a view to identify main trends, key concepts and major proponents. It is argued that the contemporary African Trinitarian Hermeneutics cannot be understood in isolation from African debates on translatability of concepts of God framed first in terms of (...) the reinterpretation of the theological significance of pre-Christian African concepts of God and subsequently as an outcome of African Christological reflection. The article affirms an apophatic resistance to any tendency to take God for granted as recently advanced by Ernst Conradie and Teddy Sakupapa. (shrink)

This essay argues that literature is neither an intrinsic good (like oxygen) nor a constructed good (like a teddy-bear) but instead a conditional good, like a blueprint. It has immense potential value, but that potential can be actualized only if readers do a certain kind of work; and readers are likely to do that work only if, as a culture, we retain an understanding of what novels and poems both need from us and can give us. This means (...) we need to be wary of theories that are excessively deflationary (all literature is mere entertainment), cynical (all literature is a vehicle for state ideology), or over-optimistic (all literature makes us more altruistic) and instead embrace a pluralism of effect. Some fictions, like The Wire, invite us to reflect on our own beliefs; some, like Plato’s dialogues, help us fine-tune our mental capacities; some, like Toni Morrison’s Song of Solomon, offer us a choice of genres; some help us feel our feelings; some offer formal models for the shape of a life. Literature can continue to matter in all of these ways—but only as long as we allow it to. (shrink)

One of the most remarkable features of the language of early Greek writing is a pervasive rhetorical strategy which consists in personifying objects for the purpose of identifying humans closely associated with them. Such ‘speaking objects’ have no Semitic parallel; how, then, is their conventional status in the Archaic Age to be explained? This article first considers the formulaic language of speaking objects, which is no straightforward transcription of speech, and seeks to explain where it comes from. It then turns (...) to the question of why writers employed the curious strategy of personification by setting it in the broader context of early Greek writing and literature. Variously analogous to herms, slaves and skytalai, speaking objects are shown to have been conceived as messengers acting on behalf of their senders by not speaking in their name. (shrink)

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I will look at and discuss the ideological-subject position of the ‘sympathetic’ slave-owner by employing Žižek ’s specific conception of ideology across two varying slave-narratives. I attempt to uncover how this ideology operates within the social-material reality in the texts Our Nig and Minnie's Sacrifice and the ways that the authors employed tropes in depicting this particular archetypal figure in slave-narratives. These charachter's exhibit an ideology remarkably aligned with Žižek ’s: that a certain non-knowledge of the proper logic of an (...) ideological reality is what sustains it. This suggests not only that such an archetypal figure exists across slave-narratives, but also that they deploy a communal ideology that attempts to conflate unwillingness with inability. They enable the perpetuation of the institution by their unwillingness to reject the economic benefits of slavery, which they conceive of as an inability. (shrink)

This paper has two main parts. In the first part, we motivate a kind of indeterminate, suppositional credences by discussing the prospect for a subjective interpretation of a causal Bayesian network, an important tool for causal reasoning in artificial intelligence. A CBN consists of a causal graph and a collection of interventional probabilities. The subjective interpretation in question would take the causal graph in a CBN to represent the causal structure that is believed by an agent, and interventional probabilities in (...) a CBN to represent suppositional credences. We review a difficulty noted in the literature with such an interpretation, and suggest that a natural way to address the challenge is to go for a generalization of CBN that allows indeterminate credences. In the second part, we develop a decision-theoretic foundation for such indeterminate suppositional credences, by generalizing a theory of coherent choice functions to accommodate some form of act-state dependence. The upshot is a decision-theoretic framework that is not only rich enough to, so to speak, ground the probabilities in a subjectively interpreted causal network, but also interesting in its own right, in that it accommodates both act-state dependence and imprecise probabilities. (shrink)

The use of autonomous and intelligent personal social robots raises questions concerning their moral standing. Moving away from the discussion about direct moral standing and exploring the normative implications of a relational approach to moral standing, this paper offers four arguments that justify giving indirect moral standing to robots under specific conditions based on some of the ways humans—as social, feeling, playing, and doubting beings—relate to them. The analogy of “the Kantian dog” is used to assist reasoning about this. The (...) paper also discusses the implications of this approach for thinking about the moral standing of animals and humans, showing why, when, and how an indirect approach can also be helpful in these fields, and using Levinas and Dewey as sources of inspiration to discuss some challenges raised by this approach. (shrink)

In my second article on this subject I asked Professor Webster to clarify his previous statements. My article was shown to him before publication, and his reply will be found immediately following it. I will confine my remarks here to a single point, because it is simple and decisive. The only passage in ancient literature explicitly connecting the phallus with Old Comedy is Clouds 537 f. There Aristophanes says that his play does not wear ‘any stitched-on leather, hanging down, (...) red-tipped, thick, to make the children laugh’. Webster, following Körte, throws all the emphasis on and interprets the passage as meaning ‘the phalli worn in this play do not hang down’. Asked why so much emphasis should be placed on the word , he makes no reply. (shrink)

In the middle of September, 47 b.c., Cicero obtained a copy of Atticus' recently published Liber Annalis, which he was consequently able to use in preparing his Brutus and his Tusculans and De Senectute . Atticus himself had consulted Varro's works on questions of literary history . Cicero, reading his friend's work, found himself in the thick of a controversy about the beginnings of Latin literature.

Two years ago the Constitutional Court invalidated provisions in the Sexual Offences Act which outlawed sexual conduct between adolescents. Parliament was ordered to fix the relevant provisions and to decriminalise consensual sexual activity between adolescents. In July 2015 the Amendment Act came into operation with the aim of revising the current Sexual Offences Act in line with the Constitutional Court judgment. This article evaluates some of the changes contained in the Amendment Act to determine its alignment with the ruling of (...) the Constitutional Court. It also considers how the changes will impact the reporting obligations of health providers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Power of PersuasionG. Bennett HumphreyA long white coat, the title of doctor, a practiced professional persona and an appointment to the staff of a prestigious university medical center allows the physician to be a persuader of clinical decisions affecting patient management. When this power of persuasion is used to encourage patient compliance with a therapeutic regimen that might be curative for a fatal disease, there is justification for (...) trying to influence the patient to make choices resulting in a positive outcome. But when a physician is asking permission to enter the patient into a research protocol where the primary goal of the study is the hope of advancing knowledge, then much thought needs to be given to the potential abuse of this power of persuasion.In the 1960s, I found myself having to think about recruiting children into research protocols. I had just finished two years of residency in internal medicine and wanted to pursue a career in academic medicine. My primary interest was in laboratory research. To strengthen my training in research, I had competed for a position as clinical fellow in a western university. The fellowship program was designed to expose young physicians to both clinical and laboratory research. The first year was spent on one of the clinical research wards and the second year in a research laboratory. The program was open to residents from surgery, medicine and pediatrics but because there was a shortage of pediatricians in the program, I was required to work on the children’s leukemia ward for one year.The learning curve was steep during the first few months. Naturally, the faculty in pediatrics and the medical literature gave me a technical education in the use of protocols for therapeutic treatment of leukemia. For example, the first protocol used was designated as Phase III, and the goal was to try to cure the patient. A remission could be achieved in over 90 percent of children but the disease recurred. The median duration of these remissions in the mid–1960s was one year. A relapse was followed by progressive disease and death in a matter of weeks, but a new drug of unknown efficacy could be administered. This was a Phase II protocol, and while there was a chance of prolonging life for a month or so, the primary goal was the identification of drugs anti–leukemic activity.The pediatric leukemia ward experience for me as a fellow was unusual. There was more to learn than the treatment of leukemia. To my surprise, the children and their mothers gave me insight into the care of pediatric patients. Each month, the patients were admitted for five days of intravenous chemotherapy. The first day was traumatic with venipunctures, bone marrow aspirations and the establishment of an IV for the daily infusion of drugs. The remaining four days were for social rounds: listening to the children who liked to talk; talking with the ones who liked to listen; putting puzzles together with some toddlers; responding to a request to listen to the heart of a much loved teddy bear; exchanging jokes and riddles; stories about school, the family dog, or a favorite friend; enjoying the banter of the adolescents; and not invading the privacy of a few who didn’t like me, the ward or the therapy. These children were sharing their childhood with me and it took couple of months for me to recognize I was bonding with these little patients. I observed and listened to the mothers caring for their children and stood in awe of the resources that they brought to bear on having children with a fatal disease. A feeling of mutual respect and trust developed between these mothers and me. For an internist, these experiences were profound and very different from my experience treating adults.A professor, an internationally known researcher in the field of leukemia, was in charge of the ward. Formal rounds were conducted on Tuesday mornings when the result of the bone marrow aspirates and the toxicity of the chemotherapy were reviewed. The day–to–day responsibility for [End Page 101] treatment and informing the mothers on the remission status on Mondays was my responsibility... (shrink)

Representations of nonhuman wild animals in children's stories and toys underwent dramatic transformation over the years 1830-1915. During the earlier part of that period, wild animals were presented to children as being savage and dangerous, and that it was necessary for them to be killed or brutally constrained. In the 1890s, an animalcentric discourse emerged in Nature writing, along with an animal-human symbiosis in scientific child study that highlighted childhood innocence, resulting in a valuing of wild animals based upon their (...) similarity to humans. This article will describe the aesthetic devices of children's stories and play materials in relation to the dominant, emerging, and residual ideas about the wild communicated by adults to children through these means. (shrink)

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, (...) Alfred Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

In Literature and Truth Richard Lansdown continues a discussion concerning the truth-bearing status of imaginative literature that pre-dates Plato. The book opens with a general survey of contemporary approaches in philosophical aesthetics, and a discussion of the contribution to the question made by British philosopher R. G. Collingwood in particular, in his Speculum Mentis. It then offers six case-studies from the Romantic era to the contemporary one as to how imaginative authors have variously dealt with bodies of discursive (...) thought such as Stoicism, Christianity, evolution, humanism, and socialism. It concludes with a reading going in the other direction, in which the diary of Bronislaw Malinowski is seen in terms of the anthropologist's reading habits during his legendary Trobriander fieldwork. (shrink)

Much bioethical literature and policy guidances for big data analytics in biomedical research emphasize the importance of trust. It is essential that potential participants trust so they will allow their data to be used to further research. However, comparatively, little guidance is offered as to what trustworthy oversight mechanisms are, or how policy should support them, as data are collected, shared, and used. Generally, “trust” is not characterized well enough, or meaningfully enough, for the term to be systematically applied (...) in policy development. Yet points made in the philosophical literature on trust can help. They allow us, not only to better distinguish the different ways the term “trust” may be interpreted, but also to better determine how different approaches to trust can align with policy and governance—in what ways they may relate to key bioethical concepts and related laws, and in what ways they can help to balance individual and group interests in data sharing. This article draws from the philosophical literature on trust to identify a relationship among consent, trust, and justice. Specifically, parallels are drawn between “character-trustworthiness” and “natural justice,” a set of widely held legal safeguards intended to ensure decision-makers follow a pattern of procedural fairness which protects the rights of the individual and thereby maintains public confidence in the decision-making process. Relevance to traditional bioethical principles, established laws, and consent procedures are addressed throughout. In conclusion, policy actions are suggested. (shrink)

In this paper, we explore the concept of bearing witness in nursing practice. We examine the description of bearing witness in the nursing literature, particularly that offered by William Cody who suggests that bearing witness results in the limited moral obligation of “true presence.” We then turn to Lorraine Code's work on testimony, drawing parallels between the concepts of testimony and bearing witness. Code suggests that receiving testimony results in a responsibility to respond, and that this is an ethico‐political (...) obligation. We discuss these ideas in relation to a Canadian exemplar of witnessing the Truth and Reconciliation Commission of Canada's work to understand and address the historical injustices done to Indigenous peoples in Canada. Here, we focus on the Commission's definition of witnessing and highlight the experience of Shelagh Rogers who served as an honorary witness. As an outcome of our analysis, we suggest that bearing witness in nursing practice is most usefully conceptualized as both a moral and a political obligation. Implications for nursing practice are suggested, including first, the need to critically examine our own understandings of power and privilege in order to authentically bear witness and avoid being complicit in injustice, and second, the concomitant responsibility to take action to challenge injustice once we have borne witness to it. (shrink)

This paper is one in a series of attempts on my part to think through one of the central challenges left to us by Merleau-Ponty’s sudden death in 1961: if we understand the turn, in his later writings, toward an ontology of the flesh as “a radical rethinking of the experience of belonging from within, [as] a phenomenology of being-of-the-world”, how are we to bear witness to such an experience? What modalities are called forth to do justice to this belonging? (...) The task accrues existential and ethical weight when, at stake in our analyses, are historical and social structures like coloniality that normalize experience, perception, and sense-making while marginalizing others. It is my contention, in this article, that when the phenomenological inquiry becomes critical the question of modality becomes ethically central; how we bear witness to experiences of marginalization and the operations of power that produce them matters in that it risks reifying the same normative structures that predicate the oppression of many. With these questions and considerations in mind, in this article, I return to silence and propose that the mobilization of what I call “deep silences” can be a powerful tool for a critical phenomenology that bears witness without capitulating to the imperative of transparency norming the modern/colonial world system. Deep silence, in fact, designates signifying practices that do not primarily operate within the bounds of logocentrism and speech as the foundational principles of meaning, or that rely upon conceptual, analytical, and instrumental thinking, mobilizing instead the somatic, affective, and sensual dimensions of existence. In this article, I am primary concerned with the sense-making effected by the aesthetic as an instance of deep silence. Specifically, I focus on the image- and ritual-centered photographic documentaries of Silvia Rivera Cusicanqui, which, I suggest, challenge the hegemonic normativity of modern/colonial aesthetics, introducing the reader to other sensibilities wherein the distinction between theory and practice has no purchase and the multiplicity of creative expressions is recognized. (shrink)

Being in Time examines philosophical treatments of time and self-consciousness in relation to concepts of narrative, focusing on the literary aspects of philosophical writing. Lloyd shows how philosophy bears on the human and emotional aspects of the experience of time which are often neglected by the history of philosophy. Starting with Augustine's treatment of the ways in which time makes him a 'problem to himself', the book traces the themes of unity and the experience of fragmentation and loss as (...) expressed by Descartes, Hume and Kant. The idea of the past as 'lost' is explored through Bergson's philosophy of time and Nietzsche's doctrine of eternal return. The book concludes with a discussion of philosophical aspects of themes of self-consciousness, memory and writing in Proust's Remembrance of Things Past and the novels of Virginia Woolf. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Joseph Margolis LITERATURE AND SPEECH ACTS The trivial truth that literature employs language has been fastened on regularly and repeatedly to spawn a remarkable variety of misconceptions. Most famously, in the context of aesthetics, it has led to the untenable thesis that all art is language,1 and to the more pointed claim that works of art somehow affirm propositions that may be linguistically rendered and straightforwardly judged (...) true or false. It has also embarrassed a good deal of theorizing about the nature of aesthetic experience and the aesthetic orientation, and has led to preposterous views about the aesthetic status of the literary arts and the exaggerated importance of words in literature. These developments are reasonably well known, partly because they form a venerable portion of the history of aesthetics, partly because the doctrines at stake take so many apparently persuasive guises—even in our own time. There are other views, however, also largely based on the example of literature, that are at once useful because they are corrective of other abuses and are in their turn prone to newer mistakes that bid fair to become fashionable. The ambivalent corrective I have in mind may be marked by the thesis that a work of art is an utterance of some sort. In effect, the thesis stresses the distortion that results from pretending to address art relevantly solely in terms of the palpable properties of some object or product—more or less on the model of examining a perceptually accessible physical object. Attention is required, on the theory, to the act or agency of the artist by which the work is "uttered," in a sense quite close to that in which a forger is said to "utter" a bad check: by this simple strategem, we are led to see that biographical, historical, intentional considerations are instructive about a work of art in an essential way and that the properties of an artwork cannot possibly be restricted to its merely sensory or sensuous features (if indeed, admitting conceptual art, a particular work has any such features at all). The proposal, therefore, is at least a heuristically useful one. Whether it ought also to be enshrined as definitional of 39 40Philosophy and Literature art is another question altogether, qualified partly by its being entirely possible to save the corrections without the thesis, partly by the debatable force of definitions themselves. A rather specialized but utterly misleading and unpromising version of the utterance theory maintains that literature as such, as well as such particularly important distinctions within literature as fiction, poetry, and metaphor, may be perspicuously defined or distinguished in terms of a speech-act model. We must be careful here. The general thesis that the phenomenon of language cannot be adequately analyzed apart from contextual considerations bearing on speakers' intentions, shared assumptions and background beliefs between speakers and hearers, and the actual histories of conversations and the like has now been abundantly confirmed by a variety of theorists—including, prominently, J. L. Austin, P. F. Strawson, H. P. Grice, John Searle, Keith Donnellan, George Lakoff, and Zeno Vendler. Still, the general concession that familiar syntactic and semantic studies of the phenomenon of language omit an entire dimension of language, as Austin so ably demonstrated, has rather little to say about the distinctions normally debated in the context of literary theory and the appreciation and criticism of literature. (This may well seem paradoxical. The argument has yet to be supplied.) But since the application of the speech-act model to literary analysis shows some tendency to attract advocates, it may be useful to draw explicit attention here to the inherent limitations and difficulties of the enterprise. Obviously, if language must be analyzed at least in part in terms of the context of performing speech acts, it will be impossible to ignore altogether the speech-act dimension of literary utterances. The question remains: what can and what cannot be illuminated by means of the speech-act model? Precisely how restricted a general speech-act model is—that is, one not restricted just to literature—can be seen at a stroke simply by noting that the meanings of sentences (i) cannot be equated with what speakers... (shrink)

Recently, women entrepreneurship has become of particular interest to corporate social responsibility (CSR) scholarship, however, little is known about the impact of crises on women’s business activities and how they adapt to the disruptions and new market realities caused by a crisis. To design CSR initiatives that genuinely cater to the needs of women entrepreneurs, it is imperative to acquire an in-depth understanding of their unique experiences during times of crisis. This study employed a qualitative methodology to investigate the development (...) of resilience among women entrepreneurs amidst crisis. The study sample comprised Iranian women entrepreneurs who were operating health-related businesses during the COVID-19 pandemic. In addition to challenges related to money, market, management, motherhood, macro and meso level factors, women entrepreneurs were found to face crisis related challenges such as emotional exhaustion, altruism, fear of failure and uncertainty. Additionally, the findings revealed the different problem-based and emotion-based coping strategies (e.g., bootstrapping and emotional regulation) that women entrepreneurs used to build entrepreneurial resilience as well as business resilience. The resultant findings offer a comprehensive understanding of women entrepreneurs’ resilience-building process and suggest that resilience-building is a contextual as well as a gendered phenomenon. Implications for entrepreneurship research as well as women entrepreneurship and ethics literature is discussed. (shrink)

Analytic philosophy's characteristic downgrading of literature's putative concern with truth, and envisaging of its interest to philosophy merely in terms of material for logical analysis, was prefigured by Frege. The initial plausibility of this approach was in part a function of certain preferred models of philosophy as analysis which were themselves deeply flawed. An exploration of their weaknesses in the light of more adequate theories of language, truth and logic enables us to give proper weight both to rhetorical and (...) imaginative aspects of philosophical discourse, and to the capacity of works of literature to bear on issues of truth—and thereby contribute to philosophical understanding. (shrink)

Dostoevsky wrote that love in action is a harsh and terrible thing compared to love in dreams. That reality is particularly evident in medicine, where there is an almost universal, involuntary participation of physicians and other healthcare workers in the suffering of their patients. This paper explores this phenomenon through the paradigm of ‘mystery’ as explained by the French existentialist philosopher Gabriel Marcel. A mystery is different from a problem in the sense that the former requires the active immersion of (...) the person involved in order to be truly experienced. It is a ‘meta-problem’ that cannot be analyzed objectively and separately from the person that it affects, without changing the nature of the thing experienced. The authors contend that the human suffering encountered in medicine is one such phenomenon, and the paper draws on illustrations of this concept in art and literature. Awareness of the subtle but important difference between mystery and problem may help physicians better understand their personal entanglement with the suffering of patients. (shrink)

This innovative critical study reinterprets Ludwig Wittgenstein's philosophy for the study of modernist and contemporary literature and brings Wittgenstein into literary conversations around problems of difficulty, ethical instruction, and the yearning for transformation. Central to Karen Zumhagen-Yekple͹'s book are her critical readings of key modernist texts by Franz Kafka, Virginia Woolf, and James Joyce. Throughout, Zumhagen-Yekplé brings to bear an interpretive framework that she derives from Wittgenstein's gnomic "Tractatus Logico-Philosophicus" (first published in English in 1922, the "annus mirabilis" of (...) modernism), which she treats not as a theory of logic or metaphysics but as a complex mock-theoretical puzzle. The book's final chapter turns to recent fiction by J. M. Coetzee, a living author conscious of his debts both to Wittgenstein and his modernist literary precursors. This book will interest students of literary modernism, Wittgenstein, and the interconnections between fiction and ordinary language philosophy. (shrink)

Original tales inspired by Native American and Norwegian folklore that highlight the wisdom of the divine natural world.

The identification of human rights issues has become more prominent in statements from national and international nursing organisations such as the American Nurses Association and the United Kingdom’s Royal College of Nursing with the International Council of Nursing asserting that human rights are fundamental to and inherent in nursing and that nurses have an obligation to promote people’s health rights at all times in all places. However, concern has been expressed about this development. Human rights may be seen as the (...) imposition of legal considerations for nurses and other healthcare workers to bear in mind, as yet more responsibilities with the consequent fear of litigation. Although a more hopeful scenario is that consideration of human rights is something that is supportive of good practice. If this more hopeful scenario is to be realised, the role of education will be crucial. As with human rights generally, human rights education is a global phenomenon, a practice-orientated expression of the Universal Declaration of Human Rights, and the goal of human rights education is to build a culture of respect and action for human rights for all. However, the nature of human rights has long been contested. A ‘mapping exercise’ of the academic literature on human rights identified ‘four schools’ or ‘ideal types’ that have shaped thinking about human rights. This sets out the conceptual context in which human rights problems are defined and solutions are proposed, which is particularly important for human rights education. However, it also complicates the picture. The different approaches taken by the four ‘types’ would likely lead to different outcomes in terms of human rights education. It is timely to discuss the nature of human rights education and examine its potential for impact on patient care. This will involve identifying the challenges and potential benefits of this approach and analysing the implications for professional practice. (shrink)

Explores how violence structures language and the writing of literature and philosophy. Within the violence our societies must confront today exists a dimension proper to language. Anyone who has been through the educational system, for example, recognizes how language not only shapes and models us, but also imposes itself upon us. During the twentieth century, this system revealed how language can condemn one to a certain death. In The Vocation of Writing, philosopher Marc Crépon explores this dimension of language, (...) convinced that the node of all violence pertains first to language and how we make use of it. Crépon focuses on Kafka, Levinas, Singer, and Derrida, not only because each rose against commandeering language in order to warn against the next massacres, but also because their work affirms the vocation of writing—that which makes literature and philosophy the final weapon for unmasking the violence and hatred that language bears at its heart. To affirm the vocation of writing is to turn language against itself, to defuse its murderous potentialities by opening it toward exchange, responsibility, and humanity when the latter fixes the other and the world as its goals. (shrink)

This conceptual paper draws on cognitive theory and attribution theory to develop a process model of managerial dissonance and responsibility attribution after harm-doing. Although extant harm-doing literature assumes managerial backing for such decisions, this study suggests that there will, at times, be acts of organizationally mandated harm-doing that managers believe are unnecessary. In these cases, it is proposed that managers will experience dissonance from enacting the harm-doing event, resulting in the externalization of responsibility to either the organization or the (...) harm-doing target. This paper examines the challenges faced by the manager through each phase of the dissonance resolution process and possible outcomes of the process. This study concludes with the model’s implications for moral theorizing. (shrink)

Becoming Langston Hughes -- Producing authentic Blackness -- Authenticity in the blues poetry -- The ethics of compromise -- Simple goes to Washington: Hughes and the McCarthy committee -- "Speak to me now of compromise" : Hughes and the specter of Booker T. -- Appendix A: Hughes's senate testimony in executive session -- Appendix B: Hughes's public testimony.

Literary criticism much too often ignores the contributions of the sociology of religions. And yet it would benefit from understanding that all culture has its source in a religious relationship to the world, even a negative one, and proceeds from a separation of the visible from the invisible. Such, in fact, is the principal characteristic of the religious element that Dilthey, for example, emphasizes. “Everywhere we encounter something that bears the name religion, its distinctive mark is its dealing with (...) the visible”. (shrink)

"Literature and the Right to Marriage," which bears the same title as the special issue that it introduces, takes up the challenge of the claim that marriage is a universal right. Framing the questions that traverse the five essays in the collection with a close reading of the sections on marriage from Hegel's Elements of the Philosophy of Right, the authors argue that if marriage can be considered a right, this right both guarantees access to and is founded (...) upon each partner's vow to abide by his or her vows to the other. Hegel's text is important because it underscores the linguistic dimension of the marriage ceremony; and it thus helps to show that, if the right to marriage were universal, it must be understood as the right to an irreplaceable kind of ritual speech. Moreover, this text is remarkably modern in its emphasis upon love as the condition of rightful marriage. Hegel considered the exchange of marriage vows to be a political event at which love becomes ethical , and ethics becomes political ; and thus also the point at which the model for "ethical love" becomes the verbally solemnized love between a man and a woman rather than the priestly love of the neighbor. Marriage, for Hegel, is always a turning point, both in the lives of the couple and in the history of the state. But this means that the importance of any marriage cannot be measured in terms of a norm; it can only be measured in terms of the amorous situation that precedes the event of marriage. Hegel's analyses are indispensable for grasping the stakes of the essays collected in this special issue and for addressing contemporary questions about which couples have the right to marry and what marriage becomes when those who would marry already have shared long and complex lives together. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 373-376 [Access article in PDF] Book Review Why Literature Matters: Permanence and the Politics of Reputation Why Literature Matters: Permanence and the Politics of Reputation, by Glenn C. Arbery; 255 pp. Wilmington, Delaware: ISI Books, 2001, $24.95. Over the last decade or so, there has appeared an increasing number of books critical of the profession of literary studies. Such criticism has (...) typically been directed at literary theory and its preoccupation with the politics of race, class, and gender. To a limited extent, Glenn Arbery's Why Literature Matters: Permanence and the Politics of Reputation can be classified as belonging to such a "genre." Early in the book, for example, Arbery argues in favor of the "old-fashioned" idea, as he calls it, that literature is a "mode of knowledge" with the potential to open up transcendent modes of experience. Yet Why Literature Matters is so short on polemics and so long on incisive, sometimes brilliant readings of works ranging from the poetry and fiction of Seamus Heaney, Tom Wolfe, Toni Morrison, and Emily Dickinson to Shakespeare's Othello and Homer's Iliad, that such a characterization is insufficient at best and distorting at worst. Notwithstanding its title, this book is devoted less to advancing a polemic about "why literature matters" than to dramatizing, with performative power and grace, why most of us, politically oriented or not, are already quite sure that it does.Such performative power can be felt throughout Why Literature Matters, but [End Page 373] its presence is especially strong in the final, lengthy chapter on the Iliad, "The Sacrifice of Achilles." Bringing to bear his training as a classical scholar, Arbery contends that the Iliad is "about" a single event: the death or "sacrifice" of Achilles. Achilles, Arbery notes, was not just the greatest hero of the Iliad. He was also the greatest hero of the entire classical world: "Achilles has no rival in glory, either in the generation of heroes before him (not even Herakles), or in the ages after him. According to Plutarch, Julius Caesar wept because he had not accomplished as much as Alexander at the same age, but Alexander the Great envied Achilles."Why, then, does Arbery refer to Achilles' death as "sacrificial"? Drawing on a version of the Greek myth whose source is Pindar rather than the more commonly cited Hesiod, Arbery observes that Achilles' sacrificial death, which is not in fact narrated in the Iliad but is everywhere taken for granted, was necessitated by Zeus' successful plan to forestall a prophecy. That prophecy said that a son would be born to Zeus and the goddess Thetis, who would overthrow the Olympian god as Zeus had overthrown the Titans. Such a son, prophesized to be not the greatest of mortals but, much more, the greatest of gods, would have been--should have been, from Achilles's justly embittered standpoint--Achilles. But in fact Zeus foiled the prophecy by marrying Thetis off to a mere mortal, Peleus, thereby ensuring his own continued reign and Achilles' eventual death.It is the burden of Arbery's discussion to show not just that Achilles comes to accept and even "will" his own death, but that the meaning of such sacrificial death is embodied and given "presence" in the poetic form and language of the Iliad, including especially the descriptions of Patrocles and Hector, each of whom "inhabits the meaning of Achilles" by dying, successively, in Achilles' armor. Arbery goes so far as to compare Achilles' sacrifice with Christ's, asserting that reading the Iliad "in ignorance of the central importance of the marriage of Peleus and Thetis [is comparable] to reading [Dante's] Inferno (where references to holy things are scarce) in ignorance of the existence of Christ."Arbery makes clear, however, that it is the differences, rather than the similarities, that are most important in such a comparison. Those differences revolve around three issues. First, whereas Christ is a deity who sacrifices himself for humanity, Achilles is a mortal who sacrifices himself for the gods. Second, whereas humanity gains ultimate... (shrink)

While bioethics as a field has concerned itself with methodological issues since the early years, there has been no systematic examination of how ethics is incorporated into research on the Ethical, Legal and Social Implications of the Human Genome Project. Yet ELSI research may bear a particular burden of investigating and substantiating its methods given public funding, an explicitly cross-disciplinary approach, and the perceived significance of adequate responsiveness to advances in genomics. We undertook a qualitative content analysis of a sample (...) of ELSI publications appearing between 2003 and 2008 with the aim of better understanding the methods, aims, and approaches to ethics that ELSI researchers employ. We found that the aims of ethics within ELSI are largely prescriptive and address multiple groups. We also found that the bioethics methods used in the ELSI literature are both diverse between publications and multiple within publications, but are usually not themselves discussed or employed as suggested by bioethics method proponents. Ethics in ELSI is also sometimes undistinguished from related inquiries. (shrink)

Tench Coxe, a member of the second rank of this nation's Founders and a leading proponent of the Constitution and the Bill of Rights, wrote prolifically about the right to keep and bear arms. In this Article, the authors trace Coxe's story, from his early writings in support of the Constitution, through his years of public service, to his political writings in opposition to the presidential campaigns of John Adams and John Quincy Adams. The authors note that Coxe described the (...) Second Amendment as guaranteeing an individual right, and believed that an individual right to bear arms was necessary for self-defense and hunting, as well as for militia purposes and protection against oppression by large standing armies. The views of this important Founding Era political commentator and public servant inform the ongoing Second Amendment debate. The authors argue that Coxe's depiction of an individual right to bear arms encompassing hunting, self-defense, and the public militia power supports the "Standard Model" of the Second Amendment prevalent in the legal literature. This Article also discusses Coxe's important role as an economic scholar in early America, and in the creation of the protectionist system of the early Republic, as both an journalistic advocate and as an executive branch official. One of his executive branch positions involved heading the federal government program to give guns to militiamen who could not afford their own. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Powers of Expression, Expressions of Power: Speech Presentation and Latin LiteratureEllen OliensisAndrew Laird. Powers of Expression, Expressions of Power: Speech Presentation and Latin Literature. Oxford Classical Monographs. Oxford: Oxford University Press, 1999. xx + 358 pp. Cloth, $85.Prospective readers should not be put off by the title of this ambitious book. Though "speech presentation" (the use of direct discourse [DD], free indirect discourse [FID], etc.) may seem (...) a rather narrow and technical topic, Laird makes a persuasive case for its manifold significance. And while he foregrounds "Latin literature," Laird ranges freely across centuries and genres, drawing on texts as diverse as the Hittite SongofUllikummi, Sannazaro's DepartuVirginis, and a 1994 story in the DailyTelegraph. The result is a thoughtful and engaging study from which readers of very different interests and stripes will be able to profit. Three chapters on the theory of narrative representation and speech presentation are followed by another three exploring representational strategies in (mostly Latin) historiography, epic, and the novel; a final chapter treats the speeches of divine messengers in epic as "allegories of representation." The book is framed by a brief introduction and conclusion, the latter capped by a suggestive coda pointing to the multiple lines of research, across various disciplines, which might be opened up by a more scrupulous consideration of speech presentation.In the introduction, Laird outlines the benefits, practical and theoretical, of focusing on speech presentation: "First, [speech presentation] can throw light on the themes and stylistic features of particular texts. Second, functions of speech [End Page 596] presentation bear on broader concerns including form and content, representation, genre, ideology, and intertextuality" (xv). These claims are amply justified in the ensuing chapters. Laird's theoretical orientation generates an abundance of local insights. He suggests that Tacitus' contrasting introductions to the speeches of Calgacus and Agricola--the distancing locutusfertur versus the confident itadisseruit (Agr. 29.4, 33.1)--help differentiate barbarian from Roman by implying "that Agricola's oration possesses a greater ontological stature than Calgacus'" (126); that Encolpius' exploitation of what Laird dubs "angled narration of dialogue" (reserving DD for his interlocutors' speech and ID for his own) produces the effect of narratorial transparency in the Cena (217-20); that the use of direct discourse for Mercury's message and indirect for Fama's in Aeneid 4 "enhances the essential contrast between the nature of the two messengers" (272). In one of his boldest discussions (192-205), Laird reviews the unanswered speeches in the Aeneid and concludes that Virgil's epic is far more rigid than previous epics in associating speech with authority and dutiful silence with subordination (Laird interestingly contrasts Homeric epic, which proclaims this hierarchy but doesn't practice it with anything like Virgil's consistency); Laird goes on to speculate that this strong linkage of speech with authority also applies to Virgil's own epic discourse, which (like Aeneas' narration in books 2 and 3) is delivered to readers who are silent or even silenced.Occasionally, the marriage of theory and interpretation founders. For example, Laird's account of the multiple literary echoes in Encolpius's seaside soliloquy (Satyricon 81.1-82.1, discussed at 221-24) shows little trace of the theoretical self-consciousness displayed in his earlier remarks on the ideological character of intertextuality and its proximity to speech presentation. And the argument that the opening sequence of the Aeneid is designed to entice the reader into Virgil's "realist" fiction (157-64) rests on some unconvincing claims (e.g., that Aeneas' first speech "begins with a prayer" addressed to "the gods, or even the poem's audience" [162], and that Juno's first soliloquy has "the poem's audience or readers" as "her first addressees" [164]). Elsewhere, Laird suggests that Aeneas' parenthetical eloquaransileam? (Aen. 3.39) "could be FID conveying his own doubt and hesitation at the time of the incident he is describing" (182-83); but surely the question makes sense only if it is attached, not to the narrated past (where the relevant question would be "shall I keep pulling on this uncanny tree?") but to the present of narration.Although Laird, an astute reader, has much to teach us about... (shrink)

Yet another remark,also bearing on Christian tragedies might be made about the conversion of Clorinda. Convinced though we may be of the immediate operations of grace, yet they can please us little on the stage, where everything that has to do with the character of the personages must arise from natural causes. We can only tolerate miracles in the physical world; in the moral everything must retain its natural course, because the theatre is to be the school of the moral (...) world. The motives for every resolve, for every change of opinion or even thoughts, must be carefully balanced against each other so as to be in accordance with the hypothetical character, and must never produce more than they could produce in accordance with strict probability. The poet, by beauty of details, may possess the art of deluding us to overlook misproportions of this kind, but he only deceives us once and as soon as we are cool again we take back the applause he has lured from us. (shrink)

Teacher strikes have taken place in the United States since the end of the 19th century, became much more common in the 1960s, and have enjoyed a resurgence over the past five years (2018-2023). In this paper, we analyze teacher strikes with two main objectives. First, we examine how sexism and misogyny impact discourse around teacher strikes, as well as the justifications that teachers themselves give for striking. We find that teachers are at risk of being deemed ‘immoral’ unless they (...) justify their decision to strike by appealing to their being in the service of others. Pressure to adopt this framing not only negatively impacts teachers’ dignity as human beings deserving of adequate compensation and working conditions, but it also inadvertently upholds unjust patriarchal norms regarding teaching as care work. In the second part of this paper, we put forward alternative framings teachers can adopt in justifying their decisions to strike. The framings are rooted in philosophical literature that allows for self-regarding actions to be recognized as properly moral in certain circumstances. We argue that by extending this recognition to teachers who strike, we combat covert sexist expectations and uphold the dignity of teachers as persons. (shrink)

The input to phonological reasoning are alternations, that is, variations in the pronunciation of related words, such as in electri[k] ‐ electri[s]‐ity. But phonologists cannot agree what counts as a relevant alternation: the issue is highly contentious despite a research record of over 50 years. We believe that the experimental setup presented may contribute to this debate based on a kind of evidence that was not brought to bear to date. Our experiment was thus designed to distinguish between alternations where (...) phonological computation plays no role, and those where it has contributed to language production. The design manipulates two factors that to date have not been considered in experimental studies of language production: linguistic complexity and alternation specificity. The former is understood as extra processing demands issued by two types of linguistic activity, morphosyntactic and phonological. Our results show that reaction time latencies are longer when participants are burdened with both morphosyntactic and phonological tasks than when they carry out just a morphosyntactic task, and they are still shorter in absence of both types of demands. These results allowed us to address alternation specificity, that is, the fact that different alternations (within a language or across languages) may be driven by different production routines (an idea that is consensual among linguists but underdeveloped in the psycholinguistic literature). Our study shows that four different alternations in French produce alternation‐specific signatures in reaction time latencies. These findings may thus redound to the advantage of psycholinguistic studies by identifying two new factors, as well as produce results that speak to the linguistic quarrels. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Don Quijote and the Law of LiteratureCarl Good (bio)The part is one of these beings, the whole minus this part the other. But the whole minus a part is not the whole and as long as this relationship persists, there is no whole, only two unequal parts.—Rousseau, Social Contract, cited by Paul de Man in Allegories of ReadingBut it is not just that, because it is also a performative.... (...) There is first a performative, the act of positing..., which then moves to a system of tropes; a kind of anamorphosis of tropes takes place, in which all the tropological systems are engendered, as a result of this original act of positing.... It is circulation which is out of hand,... the sheer circulation or play of the signifier, and which is, as you know, the root of error, madness, stupidity and all other evil.—Paul de Man, “The Concept of Irony”Amid a confusion of narrative inversions, misleading appearances, and unresolvable disputes, at least two things are consistent in Don Quijote de la Mancha: first, the knight’s singular fidelity to what I will refer to as a law of literature, which persists like a phantasm of continuity throughout the larger narrative; and, second, the many interruptions of this narrative by the stories, or episodes, recounted by the characters who cross don Quijote’s path (including the knight himself), in the form of speeches, testimonies, plays, jokes, poems, and so on. In at least one strict sense, these other stories have nothing to do with that path other than their interruptions of it and by it. Such a claim has its own strategic value and does not entirely contradict the reasonings of a long history of critics of the Quijote who have tended to argue from a variety of different standpoints for some kind of ideological cohesion that would bind the smaller episodes to the larger story that they interpolate. But at a certain ground zero of interpretation—albeit a paradoxical ground that prohibits a scholarly shelter to be built on it—no argument would be sufficient to establish such a coherence among the work’s separate narrative parts, since such an argument would live in the brief, oneiric intensity of the critic’s testimony and that testimony’s potential effects rather than in the composition of the work itself somewhere beyond its apprehension by reading. Nonetheless, out of the dismembered ensemble of the Quijote what does perhaps effect its own strange kind of life is the very play of ironic interruptions and frictions between the dismembered parts, the profusion of which seems to impose itself as the work’s own aggressive insistence on itself as something which makes sense possible by constantly provoking and unsettling sense. That is where we could begin to speak of don Quijote himself, not only as the phantasmatic agent of this unsettling but also as the mad promise of justice that could be said to motivate it.The play of interruptions in don Quijote’s own story begins to outline the shifting contours and living contradictions of this novel as a “text” in the sense in which Derrida [End Page 44] and others have used the term: that which “names or relates in its way... [a] conflict without encounter between law and singularity” [“Before the Law” 187]. Although the story of this “encounter” has been often recounted, it bears another citation here, at least because it seems to be forgotten more often than it is told. Even when it is told, the story is often muted in homage to the name of Derrida by writers who tacitly assume that Derrida’s is the only possible version of this “conflict without encounter.” That version would be better described as merely one particular ethical shaping or forcing—a powerful one—of a story that has been told, and remains untold, in uncountable ways. Nonetheless, such a democratic assessment of Derrida does not quite justify a dismissal of his version as merely one among others, since, for one thing, it would be unable to account for the astonishing hold that different versions of Derridean “deconstruction” continue to have on the imagination of North American... (shrink)

In the history of Islamic thought, it is prominent to examine the sects according to certain facts. In this research, it is aimed to read the development of the sect through aqāid works by taking the aqāid texts into the center. By centering Ash'ariyyah, we determine the aqāid literature of this sect in general terms and center two Ash‛ari aqāid works. These two aqāid texts that we have examined are the works identified with the Seljuk and Ottoman madrasahs. Al-Juwaynī’s (...) al-Aqīda an-Nizamiyyāh and al-Ījī’s al-Aqāid al-adudiyya hare extremely valuable identity texts in terms of Ash‛arī aqāid tradition. As a product of the Seljuk world of thought, al-Juwaynī’s work deals with aqāid issues with much broader titles and explanations. Al-Juwaynī lists his criticisms by targeting Mu‛tazila on most issues. Al-Ījī’s al-Aqāid al-adudiyya is one of the basic books of Ottoman madrasahs. In al-Ījī’s work, on the other hand, plain narration and a concise aqāid presentation attract attention. When we look at the work, it draws attention that the audience has changed and the opposition to the Mu‛tazilite is not too dominant. In addition, while a political interpretation over the imamate/caliphate issue is included in the creed in al-Ījī’s text, virtuousness, which is the perception of the Sunni companions, is also emphasized. The aqāid works of al-Juwaynī and al-Ījī bear the traces of the historical development of Ash‛arism, depending on their addressees, the period in which they were written, and many other reasons. (shrink)

This dissertation brings Plato's critique of poetry to bear on the issue of how to read his dialogues. Since antiquity commentators on Plato have debated the extent to which he actually meant the philosophical doctrines in his works; since the early nineteenth century this debate has been complicated by the claim that the dialogues count as literature. To treat them as literature is to hold, in a subtler sense, that Plato does not himself assert what their characters say. (...) ;I therefore categorize this view as a brand of skepticism. Only one sort of attention to the form of the dialogues avoids both this skepticism and its equally undesirable opposite, simple acceptance of the philosophical claims as Plato's own. That alternative is the aporetic reading, according to which one treats the dialogues as open-ended discussions to be continued by the reader. ;I argue that this model of reading arises naturally from the short Socratic dialogues. When pressed to its extreme implication, it turns Socrates' veneration for logical argument into a method of reading that denies all appeals to the author. ;Moreover, a view of reading much like this one can be found in Plato's fullest criticisms of poetry, in the Republic and Phaedrus. There the problem with existing literature turns out to be the context-dependence of its claims: they only mean what they mean because a dramatic character, or a poet, asserts them. The cure lies in a detachment of truth-claims from all conditions of their assertion. ;Like the simpler aporetic model, this prescription to readers turns us away from the person of the author. Skepticism and dogmatism about Plato's dialogues disagree over whether Plato meant the claims in his dialogues; the aporetic model denies the epistemological possibility of that question. It does not state that Plato's authorial intentions cannot be reached, but that reaching them does not count as knowledge. Worse, the endeavor leads away from knowledge. ;This denial of the individual person in the search for knowledge affects more than the debate over the dialogues. It also reveals philosophy's anti-literary self-conception, and its ideal of an impersonal universal voice. (shrink)

This far-ranging and ambitious attempt to rethink postcolonial theory's discussion of the nation and nationalism brings the problems of the postcolonial condition to bear on the philosophy of freedom. Closely identified with totalitarianism and fundamentalism, the nation-state has a tainted history of coercion, ethnic violence, and even, as in ultranationalist Nazi Germany, genocide. Most contemporary theorists are therefore skeptical, if not altogether dismissive, of the idea of the nation and the related metaphor of the political body as an organism. Going (...) against orthodoxy, Pheng Cheah retraces the universal-rationalist foundations and progressive origins of political organicism in the work of Kant and its development in philosophers in the German tradition such as Fichte, Hegel, and Marx. Cheah argues that the widespread association of freedom with the self-generating dynamism of life and culture's power of transcendence is the most important legacy of this tradition. Addressing this legacy's manifestations in Fanon and Cabral's theories of anticolonial struggle and contemporary anticolonial literature, including the Buru Quartet by Indonesian writer Pramoedya Ananta Toer, and the Kenyan writer Ngugi Wa Thiong'o's nationalist novels, Cheah suggests that the profound difficulties of achieving freedom in the postcolonial world indicate the need to reconceptualize freedom in terms of the figure of the specter rather than the living organism. (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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Blockhead or or Baldhead? Petron. Sat. 39. 12: ‘in Aquario copones et cucurbitae’. Apul.Met. I. 15: ‘nos cucurbitae caput non habemus ut pro te moriamur’. Cucurbita in its literal use is the name of many varieties of the numerous family of Cucurbitaceae, as one may learn, e.g. from Plin. Nat. Hist. xix. It is also the name of the cupping instrument called by Juvenal, xiv. 58, uentosa cucurbita, for which see Mayor's note ad loc. For other metaphorical uses of the (...) name, Forcellini and the Thes. Ling. Lat. cite only the two passages quoted above; of these two, Lewis and Short cite only the former. Lexicographers and editors,1 comparing the one passage with the other, concur in the view that the cucurbita is the symbol of stupidity, and that a stupid man may be called a cucurbita, as in Petronius, or be said cucurbitae caput habere, as in Apuleius. At first sight their interpretation of the Apuleian phrase is plausible, for it makes tolerable sense in the context and appears to be supported by such modern expressions as ‘pumpkin-head’ and Kürbiskopf and κεχλι κολοκνθνιον, all of which liken the head of a stupid man to a pumpkin or other gourd which, though bearing some resemblance to a human head, encloses not a brain but an insensate mass of pulp and seeds. But ‘to have a pumpkin-head’ and ‘to be a pumpkin’ are prima facie very different, for the latter equates the man himself with the cucurbita, whereas it is only qua substitute for a head that the cucurbita can typify stupidity; and when it is further observed that in the Petronian passage cucurbitae so interpreted accords ill with the context, it becomes clear that some other explanation must be sought. (shrink)

Explanatory accounts of emotion require, among other things, theoretically tractable representations of emotional experience. Common methods for producing such representations have well-known drawbacks, such as observer interference or lack of ecological validity. Literature offers a valuable supplement. It provides detailed instructions for simulating emotions; when successful, it induces empathic emotions. It too involves distortions, through emotion-intensifying idealization and ideological biases. But these also relate to emotion study. There are three levels at which literature bears on emotion research: (...) (1) the individual work; (2) generic and related patterns; and (3) properties found widely across individual works and genres. Even at the third, most general level, literature suggests potentially important hypotheses about our pleasure in emotional simulation and our need to share emotional experiences. (shrink)