"Essays explore philosophical themes in the Wizard of Oz saga, comprising the books by L. Frank Baum, the 1939 film, the novel Wicked, and related films and ...

This paper explores the classic MGM film The Wizard of Oz from a perspective influenced by Baudrillard’s writings. The paper begins by locating its argument within Baudrillard’s influential notion of the orders of simulacra, noting the neglected distinction between the imaginary and simulation (or hyperreality). It then moves into less familiar territory, exploring some of the least known aspects of Baudrillard’s thought: symbolic exchange, destiny and radical otherness. These notions, we argue, not only suggest an alternative reading of the (...) film, they also suggest an alternative perspective on Baudrillard’s thought. Against standard views of Baudrillard’s work as relativist, postmodernist and anti-feminist (Kellner 1989), the paper draws out a very different Baudrillard, one concerned with illusion, imagination and, perhaps, a singular form of ethicality. Our reading of the film, through Baudrillard’s idiosyncratic writing on seduction, ritual and initiation, suggests an understanding of ‘ethicality’ as relational, radically contingent and subject to the play of destiny. (shrink)

While The Wizard of Oz (1939) constructs an elaborate mythic world filled with witches, wizards, and magic, this essay argues that Victor Fleming's classic film also carries with it a message that is profoundly atheistic. The film persistently deconstructs ostensibly supernatural experiences by revealing their materialist underpinnings. Further, this essay interrogates Oz's epistemology by connecting it with Slavoj Žižek's concept of decaffeinated belief, as well as Daniel Dennett's notion of belief in belief.

Since the middle of the 20th century there has been a significant debate about the attribution of capacities of living systems, particularly humans, to technological artefacts, especially computers—from Turing’s opening gambit, to subsequent considerations of artificial intelligence, to recent claims about artificial life. Some now argue that the capacities of future technologies will ultimately make it impossible to draw any meaningful distinctions between humans and machines. Such issues center on what sense, if any, it makes to claim that gadgets can (...) actually think, feel, act, live, etc. I outline this debate and offer a critique of its persistent polarization. I characterize two of the debate’s major camps (associated roughly with Turing and Searle); argue that the debate’s structure (including key assumptions inherent to each camp) precludes resolution; and, contend that some central clashes within the debate actually stem from an inadequately drawn distinction between claims about the capacities of artifacts and claims about the proper criteria for assessing such attributions. I offer a different perspective in which I: challenge some central elements of the debate that contribute to its perennially irresolvable state; hold that the debate needs to be placed more squarely in sync with how we in fact treat the attribution of such capacities to humans themselves; and, offer (unlike the other two camps) a foothold for making moral assessments of such proposed technologies. (shrink)

For more than two decades, Peter French has been arguing in books, articles and symposia that corporations are genuine actors in the moral universe. Like adult human beings, they can and should take moral responsibility for their actions and be held accountable by the other actors in this universe. I have always argued with my students that the position is both metaphysically incorrect and practically harmful. Now (1995) French has redeveloped his position through 380 pages in Corporate Ethics, probably the (...) most challenging and original Business Ethics textbook yet to appear. It is a work of intellectual sophistication with real world applications. Using the metaphor invaders throughout the book, French argues not only that corporations are moral agents, but also that their moral agency has made the business world of the late twentieth century and of the coming century different from anything of preceding epochs. It is, in his argument, an agency of great potential danger and of great potential benefit, one in terms of which we can address every ethical problem of business. In the essay, I explore Corporate Ethics both on the metaphysical and the practical level. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophical Adventures in the Lands of Oz and EvGareth B. Matthews (bio)Charles Dodgson, using the pen name “Lewis Carroll,” was the first author in English to write philosophical fantasy for children. In naming his first Alice book Alice’s Adventures in Wonderland,1 Lewis Carroll may have been inspired by the famous saying of Aristotle that philosophy begins in wonder. More exactly, what Aristotle said was this: “For it is owing (...) to their wonder (thaumazein) that people both now begin, and first began to philosophize (philosophein)” (Metaphysics I, 1982b12-13). Plato expresses a similar idea in his dialogue Theatetus: “This is an experience characteristic of philosophy,” Plato has Socrates say, “this wondering: this is where philosophy begins and nowhere else” (155d).A reader might suppose that the wonder Plato and Aristotle thought could stimulate us to do philosophy was a Kantian awe at “the starry heavens above me and the moral law within me.”2 But, in fact, the wonder Plato and Aristotle allude to is a surprised recognition that something we thought we understood perfectly well actually presents a challenging perplexity (aporia). So for both Plato and Aristotle, philosophy begins in the wonder at a philosophically interesting perplexity.3 And, indeed, Alice’s adventures in Wonderland are adventures in philosophical perplexity.The first American writer of philosophical fantasy for children was L. Frank Baum, author of The Wonderful Wizard of Oz4 and a number of other Oz books. For Baum philosophical fantasy took a rather different form from the fantasy of Lewis Carroll. This should hardly be surprising. After all, Carroll was a philosopher and an Oxford don whose specialty was logic. The hallmark of his fantasy is clever and thought- provoking [End Page 37] repartee, such as one might hope to hear at high table in an Oxford college. Consider this passage from chapter 7 (“A Mad Tea-Party”) of Alice in Wonderland:“Take some more tea,” the March Hare said to Alice, very earnestly.“I’ve had nothing yet,” Alice replied in an offended tone, “so I can’t take more.”“You mean you can’t take less,” said the Hatter: “it’s very easy to take more than nothing.”5As this passage helps us realize, “A has had more tea than B” is normally taken to imply that, although both A and B have had some tea, the amount that A has had is more than the amount that B has had. However, it can also be taken to mean simply that the amount A has had is more than the amount B has had, even where, in the case of B, that amount is zero. Or consider this exchange from chapter 6 (“Humpty-Dumpty”) of Through the Looking-Glass:“I don’t know what you mean by ‘glory,’” Alice said.Humpty Dumpty smiled contemptuously, “Of course you don’t—till I tell you.I meant ‘There’s a nice knock-down argument for you!’”“But ‘glory’ doesn’t mean ‘a nice knock-down argument,’” Alice objected.“When I use a word,” Humpty Dumpty said, in rather a scornful tone,“it means just what I choose it to mean—neither more nor less.”“The question is,” said Alice, “whether you can make words mean so many different things.”“The question is,” said Humpty Dumpty, “which is to be master—that’s all.”6This characteristically clever and amusing exchange forces readers to make a distinction between lexical meaning and speaker meaning. Of course the word “glory” does not mean “there’s a nice knock-down argument for you,” but what a speaker might mean to communicate by using the word “glory” is another issue. Moreover, the relationship between lexical meaning and speaker meaning is a very interesting issue in linguistics and the philosophy of language.Nothing like this clever repartee is to be found in the Oz books. Nor should that fact be very surprising. Frank Baum never took a philosophy course; he never even went to college. He was a theater producer and journalist. Yet, despite this lack of academic background, perhaps the most striking feature7 of Baum’s writing—something almost universally ignored in the scholarly literature on Baum... (shrink)

It has been well documented that children perceive robots as social, mental, and moral others. Studies on child-robot interaction may encourage this perception of robots, first, by using a Wizard of Oz set-up and, second, by having robots engage in self-description. However, much remains unknown about the effects of transparent teleoperation and self-description on children’s perception of, and relationship formation with a robot. To address this research gap initially, we conducted an experimental study with a 2 × 2 between-subject (...) design in which 168 children aged 7–10 interacted with a Nao robot once. Transparency about the teleoperation procedure decreased children’s perceptions of the robot’s autonomy and anthropomorphism. Self-description reduced the degree to which children perceived the robot as being similar to themselves. Transparent teleoperation and self-description affected neither children’s perceptions of the robot’s animacy and social presence nor their closeness to and trust in the robot. (shrink)

This interview – conducted by Peter Beilharz and Trevor Hogan with Clinton Walker over the course of three months (July to September 2011) between Melbourne and Sydney via email and Skype – explores the questions of Australian popular culture writing with, against, and of the culture industries themselves. Walker is a leading freelance Australian cultural historian and rock music journalist. He is the author of seven books, five about Australian music. He has been a radio DJ and TV presenter. He (...) compiled and produced four double CD album collections of Australian music – Inner City Sound, Buried Country, Long Way to the Top, and Studio 22. He has been a key writer in several multi-media projects, including the Powerhouse Museum Real Wild Child exhibition and CD-Rom (1995) and ABC TV’s hit documentary series/CD/DVD Long Way to the Top (2001). In 2006, a new US edition of his first book Inner City Sound (with soundtrack CD) was published. His Golden Miles: Sex, Speed and the Australian Muscle Car (2005) has been published in a revised edition in 2009. In 2012, his eighth book, The Wizard of Oz, will be published. Walker is currently writing with Beilharz and Hogan a book called The Vinyl Age: The History of Australian Rock Music, 1945–1995. The interviewers invited Walker to reflect critically on his 35-year ‘career’ as pop avatar, independent writer and critic in the post-war to post-modern Australian popular culture industries. Going from journalism to his path-finding books and television documentaries, the article traces this work’s development both in personal terms and as a symptom of the broader cultural evolution, from the suburbs to pop to art and rock and back again; between London and the provincial cultures of Oz; from one-way American consumerism to local DIY egalitarianism, analogue to digital to global dialogue, youth culture to multi-culturalism, and from the putative low brow to the legimitization process itself of popular culture. (shrink)

The revelation that menstruation tracking apps share sensitive data with third parties, like Facebook, provoked a sense of violation among users. This case highlights the need to address ethics and governance of health data created outside of traditional healthcare contexts. Commodifying health data breaches trust and entails health and moral risks. Through the metaphor of The Wizard of Oz, we argue that these apps approximate healthcare without the professional competency, fiduciary duties, legal protections and liabilities such care requires and (...) thus represent an innovation in the annals of snake-oil salesmanship and the systematic devaluing of women’s bodies, lives, and work. (shrink)

Two experiments investigated the mechanism by which listeners adjust their interpretation of accented speech that is similar to a regional dialect of American English. Only a subset of the vowels of English (the front vowels) were shifted during adaptation, which consisted of listening to a 20‐min segment of the “Wizard of Oz.” Compared to a baseline (unadapted) condition, listeners showed significant adaptation to the accented speech, as indexed by increased word judgments on a lexical decision task. Adaptation also generalized (...) to test words that had not been presented in the accented passage but that contained the shifted vowels. A control experiment showed that the adaptation effect was specific to the direction of the shift in the vowel space and not to a general relaxation of the criterion for what constitutes a good exemplar of the accented vowel category. Taken together, these results provide evidence for a context‐specific vowel adaptation mechanism that enables a listener to adjust to the dialect of a particular talker. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:594 Feminist Studies 41, no. 3. © 2015 by Feminist Studies, Inc. Liberty Walther Barnes and Christin L. Munsch The Paradoxical Privilege of Men and Masculinity in Institutional Review Boards In the 1939 Hollywood classic The Wizard of Oz, the great wizard admonishes Dorothy and her friends to “pay no attention to that man behind the curtain.” Dorothy and company turn to see a man standing before (...) a large control panel operating the smoke, holographic image, and voice of the great wizard. Realizing he has been discovered, the man gives up manipulating the switches and the nebulous wizard vanishes.1 Hegemonic masculinity is analogous to the “all-powerful” wizard.2 In order to maintain its grandeur, power, and mystique, the mechanics of masculine ideology—as well as the social actors who participate in its reproduction —must be kept hidden.3 A crucial aim of feminist research is to 1. The Wizard of Oz, directed by Victor Fleming (Culver City, CA: Metro-Goldwyn -Mayer, 1939). 2. See R. W. Connell, Masculinities: Knowledge, Power and Social Change (Berkeley : University of California Press, 1995); R. W. Connell and James W. Messerschmidt, “Hegemonic Masculinity: Rethinking the Concept,” Gender & Society 19 (2005): 829–61; Michael Kaufman, “Me, Feminism, and Men’s Contradictory Experiences of Power,” in Theorizing Masculinities, ed. Harry Brod and Michael Kaufman (Thousand Oaks, CA: Sage Publications, 1994), 142– 63; and Michael S. Kimmel, “Masculinity as Homophobia: Fear, Shame, and Silence in the Construction of Gender Identity” in Brod and Kaufman, Theorizing Masculinities, 119–42. 3. Michael Flood and Bob Pease, “Undoing Men’s Privilege and Advancing Gender Equality in Public Sector Institutions,” Policy and Society 24, no. 4 (2005): 119–38; Allan G. Johnson, The Gender Knot: Unraveling Liberty Walther Barnes and Christin L. Munsch 595 pull back the curtain on men’s lives and masculine institutions in order to demystify socially constructed masculinities, particularly in their most powerful forms. As early feminist scholars note, male privilege renders women’s lives invisible.4 But male privilege renders aspects of men’s lives invisible, too. In this article we highlight how institutional review boards (IRBs) in universities and hospitals erect barriers to research that render particular aspects of men’s lives invisible. We draw on our experiences of submitting ten applications for a series of methodologically diverse studies of masculinity to eight IRBs. First, we argue that, despite their original function of protecting subordinated groups, IRBs are gendered institutions in which members base their decisions on culturally dominant, normative images of women and men. We show how this results in the stringent protection of male research participants, the safeguarding of participants’ personal masculinity, and the shielding of men’s lives from social inquiry. Second, we argue that IRBs are gendering institutions. Our experiences reveal how the privileging and protection of masculinity results in mandatory protocol modifications that idealize hegemonic masculinity. These modifications require researcher-participant interactions that socialize men to engage in gender “appropriate” behavior and reify gendered expectations. Third, our experiences reveal the ways in which IRBs protect the institution itself and privilege the universities, hospitals, and (predominantly male) medical doctors they represent. Consequently, the ways they reproduce social inequality remain impervious to academic inquiry. IRBS AS GENDERED AND GENDERING INSTITUTIONS Every university and hospital in the United States where human research is conducted houses a human research protections program, or IRB, to oversee academic research. Universities with hospitals typically our Patriarchal Legacy (Philadelphia, PA: Temple University Press, 1997); Michael Kimmel, Guyland: The Perilous World Where Boys Become Men (New York: Harper Collins, 2008). 4. Simone de Beauvoir, The Second Sex, trans. Howard M. Parshley (New York: Knopf, 1951); Sandra Harding, The Science Question in Feminism (Ithaca, NY: Cornell University Press, 1986); Dorothy E. Smith, “Women’s Perspective as a Radical Critique of Sociology,” in Feminist Perspectives on Social Research, ed. Sharlene N. Hesse-Biber and Michelle L. Yaiser (New York: Oxford University Press, 2004), 84–96. 596 Liberty Walther Barnes and Christin L. Munsch maintain two types of IRB committees: a social-behavioral committee that oversees studies in the social sciences, and a biomedical committee to supervise clinical drug trials, experimental medical treatments, and tissue and blood research. The duty of the... (shrink)

La série Doctor Who est parvenue, en cinquante ans d’existence, à mettre en place une mythologie dans laquelle technologie et mythes des origines ont donné vie à un univers que la majorité des personnages perçoit comme étant « magique ». Tout comme le magicien ou la figure du sage dans le monomythe campbellien, le Docteur apparaît toujours au bon moment et provoque l’appel de l’aventure qui guide ses compagnons humains dans un monde merveilleux. Offrant souvent des explications pseudo-scientifiques incompréhensibles pour (...) le commun des mortels, le Docteur ressemble ainsi au magicien d’Oz dont les pouvoirs magiques viennent d’une maîtrise scientifique supérieure à celle de ses interlocuteurs. Mais la représentation de ce magicien spatio-temporel a pris une toute nouvelle tournure lorsqu’il est devenu évident que le Docteur et Merlin avaient une histoire et des origines communes. In fifty years, Doctor Who managed to develop a mythology in which technology and origin myths gave birth to a universe that most characters perceive as “magical”. Just like the wizard or the wise in the Campbellian monomyth, the Doctor systematically appears at the right moment and provokes the call to adventure that will lead his human companions in a wonderful world. His pseudo-scientific explanations, often incomprehensible for us mortals, thus create a certain connection between the Doctor and the Wizard of Oz, whose magic powers result from a superior knowledge of science. But the representation of this spatiotemporal magician became quite different when the Doctor and Merlin started to have a common history and a same origin. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Noble Impermanence of WaystationsMiriam Rowntree (bio)In the Austin-Bergstrom International Airport (ABIA), adjacent to Gate 14, a screen announces that boarding to Equestria is on time. The description below this announcement includes transport “through a portal to a parallel dimension” and a “harmonious sparkly” atmosphere. An attractive destination. Esquestria’s capital, Canterlot, offers castles, dragons, and, of course, ponies. As the heart of the My Little Pony universe, Canterlot boasts (...) a fantastical utopia. Gate ∞, as it is called (because its erstwhile home, Gate 13, is an unlucky number), imaginatively whisks weary travelers away to other fantastical destinations. Using a commonplace ticket machine or kiosk, travelers answer a series of whimsical questions and receive a ticket to a utopian destination that the machine has personally matched to the traveler for their mythical utopia. Doesn’t everyone want to go to lands of unicorns, ponies, or other such magic?The installation titled “Interimaginary Departures” draws upon 120 destinations drawn from various media, literature, and games, including Harry Potter, The Chronicles of Narnia, and The Wizard of Oz.1 Even the carpet is inspired by the rabbits of Watership Down. Artist Janet Zweig describes her art [End Page 570] installation as designed to “create generative situations in public settings” and Gate ∞ does invite possibility as it is situated in a portal askew to the portals of the real in the terminal. Gate ∞ boldly crosses a border wall at 7 degrees (fig. 1, p. 572), heightening the boundaries between the real and the unreal. The chairs, a trashcan, and a book are caught between worlds, a wall slicing through them. Although Zweig cites China Mieville’s The City and the City (2009) as inspiration for her art installation, for me, the juxtaposition of the “interimaginary” and the real calls to mind Olga Tokarczuk’s book Flights (2007).2 While Zweig’s kiosk personally recommends Equestria (fig. 2, p. 573), ABIA is itself merely a waystation on my own trip between Texas and Rome.Tom McAllister’s review of Flights in the Washington Post describes the book as “beautifully fragmented,” not unlike Zweig’s “Interimaginary Departures” which relies on structural fragmentation of a space to exemplify the interposition of the imaginary and the real.3 This book captivated me from the first strange narrative when I tried to read it several years ago. However, I found it difficult to finish the first time as the stories in each section (there are no chapters) moved rapidly from one place, person, idea, and time to the next. McAllister says that “the disconnectedness is part of the point; they are fragments of people’s lives, a patchwork of personal experience, secondhand observation and imagination. Each story appears, draws our attention and then fades as the narrator finds her way to a new hotel, a new airport.” Perhaps the disconnectedness is the point, but I have found that Tokarczuk also infuses the sections with a sense that “there exists in the world’s coordinate system a perfect point where time and space reach an agreement” (4). Like Zweig’s “Interimaginary Departures,” that agreement is found in movement and the waystations toward that right time and place.Destination: RomeI settle into my seat next to my two daughters. Our flight will land in Rome at 8:00 am tomorrow. I have prepared them for what this means for our bodies. Jet lag is no joke. We shuffle our things around, air pods in the seat pocket in front of us, our bags tucked into the overhead bins. I take out my book and open it to the first page as my girls turn on the tv screens nestled in the seat in front of them. “Here I am” it says in bold letters at the top of the first page of Tokarczuk’s book. The narrator announces their presence (here) with the imperative of existence (I am). I take out my pen as is my habit, but it falls to the side as I read the first [End Page 571] Click for larger view View full resolutionFigure 1.A view from the Interimaginary Departures exhibit at Gate 13, or Gate Infinity, in Austin-Bergstrom International... (shrink)

Here is a mystery: in 1939, when the Hollywood Studio System, at the peak of its power, produced such films as Gone with the Wind, Ninotchka, Stagecoach, The Wizard of Oz, Mr. Smith Goes to Washington, and Wuthering Heights, the movies' number-one box-office attraction was not Gable, Garbo, Wayne, Garland, Stewart, or Olivier. In 1939, 1940, and 1941, the most popular performer in the American cinema was Mickey Rooney, who owed his success primarily to a low-budget MGM series that (...) concentrated on his character, Andy Hardy. Here is another mystery: at some point in the past decade, film studies, once the most innovative of the humanities disciplines, began to harden into a catechism of predictable questions and answers. By committing itself exclusively to rational critique, film studies left itself overmatched by the enormously popular, seductive, and enigmatic representations that constitute the movies. And by eschewing experimentation with the forms of criticism, film studies ironically cut itself off from the new methods of research and writing prompted by the twentieth century's revolution in communications technologies. Robert Ray's book about Andy Hardy proposes that alternative ways of thinking and writing about the movies can be derived from the humanities' equivalent of science's pure research--the avant-garde arts. Drawing on the Surrealist tradition, with its use of games, chance, fragments, anecdotes, and collage, Ray invents for film studies new forms of research that imitate the cognitive habits encouraged by photography, computers, and the cinema itself. In doing so, he reveals that even the Andy Hardy movies, a routine product of the Hollywood Studio System, were, after all, rich and mysterious. (shrink)

Following the suggestion of Naomi Scheman in her essay, “Forms of Life: Mapping the Rough Ground” in The Cambridge Companion to Wittgenstein, I undertake to expand on her idea that Wittgenstein’s project can be fruitfully compared to Dorothy’s task in the classic 1939 film, The Wizard of Oz. Dorothy, after dreaming of finding a trouble-free place over the rainbow, that is, above the troubles she faced in Kansas, embodied in Miss Gulch, and after having been uprooted from her home (...) and getting just what she wished for, realizes that she wants to return home. Following the yellow brick road, she seeks Oz who can show her the way back to Kansas. I read Wittgenstein’s project as eerily similar. After having left his home in the ordinary, that is, after seeking a way to speak outside of ordinary language games, that is, after his project in the Tractatus, Wittgenstein takes his task to be a return, a return of words from their metaphysical to their everyday use. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 757 Ramzi Fawaz How to Make a Queer Scene, or Notes toward a Practice of Affective Curation Let me begin with two stories. In spring of 2013 I organized a semester -long, undergraduate film series at George Washington University titled “Acting Up: Queer Film and Video in the Time of AIDS.” At semester ’s end, after participants had (...) watched nine films about the AIDS epidemic —among them classic AIDS documentaries, activist videos, and mainstream Hollywood productions—I chose to conclude the series with the 1991 documentary Silverlake Life: The View from Here. Silverlake Life documents a year in the lives of Tom Joslin and Peter Friedman, a gay couple living in Los Angeles in the late 1980s who share an HIV diagnosis. At the time I made the selection, I did not realize that Silverlake Life documents one of the most devastating lived experiences of the AIDS epidemic ever filmed: during the course of taping, Tom, the initial documentarian, becomes gravely ill and dies on camera while lying in bed after a week-long convalescence. Reviewing this scene before our official screening, I found myself overwhelmed by intense feelings of anxiety. On the one hand, I felt a deep responsibility to expose my students to the aesthetic and political work of this daring documentary, and on the other, to protect them from witnessing forms of suffering that might traumatize them more than illuminate the social history of AIDS. When we convened to discuss the film, many students expressed how devastated they were by what they had seen. Rather than shutting down conversation, however, the depth and intensity of their viewing 758 Ramzi Fawaz experience galvanized an extraordinary conversation about the ethics of documenting the lives (and deaths) of people with AIDS. What they witnessed expanded the very possibilities of what they could feel about issues of collective concern such as the AIDS epidemic, while also transforming their ability to reconsider productive encounters with pain, suffering, and trauma. In my fear of negatively impacting students, I had forgotten both their capacity to respond with generosity and openness to traumatic images as well as my own careful curation of nine previous films and the attendant conversations held around them, which had laid a groundwork of shared affective openness to difficult content. One year later, as a newly minted assistant professor of English at the University of Wisconsin, Madison, I taught a large lecture course on American fantasy. In the fourth week of class, I screened The Wizard of Oz as part of a unit on the Hollywood musical, and I devoted a lecture to a gay and lesbian interpretation of this classic film. I highlighted the movie ’s camp aesthetics, its gender play and drag elements, and its derailing of traditional heterosexual romance plots. As a gay man well versed in queer media scholarship, I took it for granted that this was a pleasurable but patently obvious interpretation of a film that I assumed most people recognized for its exuberant and visually spectacular gayness. Yet as I spoke, I sensed a visceral tension build in the room. Half the students seemed mesmerized by the possibility of a queer aesthetic underlying the movie, while the other half frowned at me in silent fury, outraged by my daring to desecrate the presumed innocence of a childhood escape. The seething resentment of this latter group was confirmed for me when, weeks later, my teaching assistants disclosed that numerous students had expressed feelings of anger and frustration that my interpretation had “ruined” their pleasure in a beloved film of their youth. This circumstance prompted me to confront my students the following week: microphone in hand, I strolled the room and asked students to account for their feelings of discomfort. I wanted them to explain why their personal pleasure in The Wizard of Oz hinged on the diminishment of alternative viewing possibilities, including unexpected queer delights in transparently “straight” narratives. Students were clearly jolted out of their complacent belief that no one would hold them accountable for their perspective, or that their view might have political or ethical consequences: yet the resistance of some to being called... (shrink)

This study presents the manifestations of irrational practices in recent Romanian politics. Providing a short history of the mystical and the occult in Romanian politics, this research uses as a case study the alleged use of the occult “violet flame” in the presidential campaign of 2009. By showing how public religiousness and the daily mystical practices are changing, the author is describing the transformations of the national political communication under the pressure of the news media, which are becoming more and (...) more pervasive to the occult discourses and the magical thinking. The author describes these transformations as part of the general transformations of the political imaginary inRomania. The Romanian public psyche belongs more and more to the culture of infotainment, a culture based on cultivating superficiality, where mystical and simplistic thinking have replaced the traditional processes of public exchange of reasonable ideas. Thus a main trait of this video-pathology in which the Romanian media is engulfed, is the substitution of the rational discourses with the superficial understanding of the world and supernatural explanations about the universe. One of the conclusions is that the manifestations and functions of the irrational in the Romanian political sphere have become more innocuously connected with a deep mysticism already in place, and are profoundly changing the society as a whole. (shrink)

_Ranging from Homer to Picasso, and from the Iranian Revolution to _The Wizard of Oz_, this spirited and radiant book awakens us anew to the role of color in our lives_ Our lives are saturated by color. We live in a world of vivid colors, and color marks our psychological and social existence. But for all color’s inescapability, we don’t know much about it. Now authors David Scott Kastan and Stephen Farthing offer a fresh and imaginative exploration of one (...) of the most intriguing and least understood aspects of everyday experience. Kastan and Farthing, a scholar and a painter, respectively, investigate color from numerous perspectives: literary, historical, cultural, anthropological, philosophical, art historical, political, and scientific. In ten lively and wide-ranging chapters, each devoted to a different color, they examine the various ways colors have shaped and continue to shape our social and moral imaginations. Each individual color becomes the focal point for a consideration of one of the extraordinary ways in which color appears and matters in our lives. Beautifully produced in full color, this book is a remarkably smart, entertaining, and fascinating guide to this elusive topic. (shrink)

About the author -- Note to the reader -- From the Alamo Draft House to the livingroom couch (or there and back again) -- Part I: Rated G: General Audiences -- 1. I know something you don't know: The Princess Bride -- 2. Lions and tigers and bears: scary stuff in the Wizard of Oz -- 3. The monster and the mensch: a child's eye view of Super 8 -- 4. Chef, Socrates, and the sage of love: finding love (...) in South Park -- 5. Killing Kenny: death therapy in South Park -- Part II: Parental Guidance Suggested -- 6. The good, the bad, and the beautiful: Sergio Leone's animals, actors, and aesthetics -- 7. Democracy adrift: Hitchcock's Lifeboat -- 8. Cuts like a knife: cutting to the core of His Dark Materials -- 9. Mrs. Coulter--overwoman?: Her Dark Materials -- Part III: Rated R: Restricted Audiences Only -- 10. A very naughty boy: getting right with Brian and Monty Python -- 11. Have you no decency?: Claire, Frank, and their House of Cards -- 12. Vinnie's very bad day: twisting the tale of time in Pulp Fiction -- 13. Once upon a time: in Inception -- 14. Dream time: in inception -- Part IV: Director's Cut -- 15. To serve man: a visit to The Twilight Zone -- Bibliography -- Suggestions for Reading -- Index. (shrink)

While traffic signals, signs, and road markings provide explicit guidelines for those operating in and around the roadways, some decisions, such as determinations of “who will go first,” are made by implicit negotiations between road users. In such situations, pedestrians are today often dependent on cues in drivers’ behavior such as eye contact, postures, and gestures. With the introduction of more automated functions and the transfer of control from the driver to the vehicle, pedestrians cannot rely on such non-verbal cues (...) anymore. To study how the interaction between pedestrians and automated vehicles (AVs) might look like in the future, and how this might be affected if AVs were to communicate their intent to pedestrians, we designed an external vehicle interface called automated vehicle interaction principle (AVIP) that communicates vehicles’ mode and intent to pedestrians. The interaction was explored in two experiments using a Wizard of Oz approach to simulate automated driving. The first experiment was carried out at a zebra crossing and involved nine pedestrians. While it focused mainly on assessing the usability of the interface, it also revealed initial indications related to pedestrians’ emotions and perceived safety when encountering an AV with/without the interface. The second experiment was carried out in a parking lot and involved 24 pedestrians, which enabled a more detailed assessment of pedestrians’ perceived safety when encountering an AV, both with and without the interface. For comparison purposes, these pedestrians also encountered a conventional vehicle. After a short training course, the interface was deemed easy for the pedestrians to interpret. The pedestrians stated that they felt significantly less safe when they encountered the AV without the interface, compared to the conventional vehicle and the AV with the interface. This suggests that the interface could contribute to a positive experience and improved perceived safety in pedestrian encounters with AVs – something that might be important for general acceptance of AVs. As such, this topic should be further investigated in future studies involving a larger sample and more dynamic conditions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Bookworms to Enchanted Hunters: Why Children ReadMaria Tatar (bio)Sensation SeekersThe laws governing the conservation of cultural energy are particularly effective when it comes to children’s literature. Peter Pan, Alice in Wonderland, The Chronicles of Narnia, The Yearling, The Wizard of Oz, Pinocchio, The Wind in the Willows, The Secret Garden, The Snow Queen: these are just a few of the volumes that continue to pull and tug (...) on young readers, drawing them into enchanted other worlds. Their propulsive force has moved from one generation to the next, setting minds into motion, renewing senses, and almost rewiring brains. Favoring expressive intensity over intellectual heft, the books of childhood use no-holds-barred melodramatic strategies until we are under their spell. We can all remember the jolts and shimmer of books we read as children, the moments that sent shivers up and down the spine.“Wow” moments saturate children’s stories, exploiting the emotive power of language for maximum effect.1 Think of the multiple evocations of the web created by the spider Charlotte in E. B. White’s book, how it “glistens” in the light and makes a pattern of “loveliness and mystery.” “What a curious feeling,” Alice declares in Lewis Carroll’s Alice in Wonderland once she has tasted the contents of a bottle marked “Drink me.” After that, the world she enters only becomes “curiouser and curiouser.” Dorothy lands in Oz and her eyes grow “bigger and bigger” at the “wonderful sights” she sees. They continue widening as she follows the Yellow Brick Road to Oz with her three companions. “A million golden arrows” point the way to Neverland, as the Darling children begin to experience the first in a series of bursts of beauty and rumbles of violence. Those rumbles create similar wow effects. Who can forget the moment when Iorek Byrnison, one [End Page 19]Maria Tatar Maria Tatar is the John L. Loeb Professor of Germanic Languages and Literatures at Harvard University, where she chairs the Program in Folklore and Mythology. She is the author of Classic Fairy Tales, The Annotated Brothers Grimm, The Annotated Hans Christian Andersen, and The Hard Facts of the Grimms’ Fairy Tales and has written for the New York Times, the New Republic, and Slate.com.Copyright © 2009 Board of Trustees of the University of Illinois... (shrink)

This article examines how the interactive capabilities of companion robots, particularly their materiality and animate movements, appeal to human users and generate an image of aliveness. Building on Husserl’s phenomenological notion of a ‘double body’ and theories of emotions as affective responses, we develop a new understanding of the robots’ simulated aliveness. Analyzing empirical findings of a field study on the use of the robot Zora in care homes for older people, we suggest that the aliveness of companion robots is (...) the result of a combination of four aspects: 1) material ingredients, 2) morphology, 3) animate movements guided by software programs and human operators as in Wizard of Oz-settings and 4) anthropomorphising narratives created by their users to support the robot’s performance. We suggest that narratives on affective states, such as, sleepiness or becoming frightened attached to the robot trigger users’ empathic feelings, caring and tenderness toward the robot. (shrink)

In recent years there has been great attention paid to the so-called Italian theory in the field of political philosophy. This definition has brought to the fore Italian thinking, but at the same time also covers many reflections of the past several decades, by creating a category easily disclosable but also restricted to a few authors and topics. To this regard, I want to highlight the philosophical work of Ubaldo Fadini, professor of philosophy at the University of Florence, who for (...) many years has been dedicated to the German and French philosophical tradition, crossing different disciplines and combining aesthetic and ethical issues to frame the subjectivity and the institutions into the post-Fordist era. -/- Since his work is multi-faceted and broad, I would suggest first reading Il desiderio in America (The desire in America) for his ‘achipelago-politics’. Fadini addresses the issue of desire in Deleuze with an approach that escapes the opportunity and claim to be an interpretive key from which to see everything systemically. His work wisely touches on several authors and issues, from Kafka to Melville, Spinoza and Nietzsche, and many others, addressing the dynamics of a desire, debt, conscience, responsibility and law. These are, therefore, multiple inputs to desiring, which does not hide the dotted plurality of the brothers in the world, beyond the tight grip of the Oedipal triangle, i.e. the father-mother-child relationship. It follows a not only a psychological issue but also a political one, thus it regards the delineation of a field of forces in which ‘who’ acts – and speaks – is not only the person (a term which in Latin refers to theatrical mask, but well-defined identity fictitious necessary to enter the scene and carry on a story), but the scene itself, produced by relations not illuminated by the light of the show. The plural world of the brothers is the American one, in which the Oedipal relationship with the father-homeland is cut in the name of equality, contrary to colonial subjection (of which Fanon has also shown the psychic character revealing the mechanism of the colonized that internalized the oedipal function of the dominus. Fanon, in fact, has linked the production of subjectivity employee with the apparatus of colonial subordination). -/- To this aside to Deleuzian thought, Fadini adds another, but productively connects to the first: from the cut with the father was not born the son (as in Hegelian-Lacanian interpretation or dialectical-psychoanalytic who wants the definition of the son from by the conflict with his father), but the brothers, the concrete manifold in which the father is not necessary but is placed from time to time in the decision-making function of the uncertainty, in the mobile uncertainty of the brothers in their organization. That this is happening is not a scandal. That this would represent a danger, as Fadini states, is a necessary point to be aware. Maybe, the problem arises when this function is preached the need: no, the fathers are not necessary. And even mothers. We reiterate: it is a political issue around which affirms or denies the legal capacity of the many in favor of the one. The one may be different persons: those who came before, the old, the wise, the priest who runs the border between the world and underworld with the rules applied on the swinging from one place to another, the legislature, the owner. The reason why the scope of the one is so problematic is mainly related to the mechanism he establishes so to ex-istere. It is a mechanism for fault-liability-debt, such as a pyramid which is based on a ‘primary’ concept, namely that of the absence. The paternal function certainly sums up everything in a person: the father is the legislator, he was there before, is older, closer to the world of the dead, but even in that of the living, owns the world, provides rules – even interpretation – to be applied to the fluctuations of life. A really great invention, no doubt about it, higher than that of basileus-priest, more functional, yes, more functional. -/- As in The Wizard of Oz, a narrative that is served in an American election campaign and, as Graeber reminds us, explains the necessity of the idea of debt so to found the new relationship between money and gold, the legislator is microscopic compared to the effects of the conviction that is produced on a large scale, not only on his community but also on the foreigners who come to him in search of completeness. The vacuum is once again an instrument of domination, nothing else. Lack of confidence, of course. Lack of confidence in the ability of the brothers. In the story of The Wizard of Oz, the wizard was well-intentioned and therefore the trick is revealed, however, he reaffirms his role by giving foreigners a certificate of completion that settles the existential debt. Lack of confidence and perhaps even the reading of fairy tales. We don’t need ‘real’ narrations but concrete tales, and, as Fadini says, archipelagos and pirates and cartographers. (shrink)

Various aspects of the relationship between ethical climate types and organizational commitment have been examined, although a relationship with the concept of bullying, which may be very detrimental to an organization, has not attracted significant attention. This study contributes to the existing research by taking the effects of bullying behaviour into consideration. The aim of this study is to explore the effects of bullying behaviour upon the relationship between ethical climate types and organizational commitment. It will be noted that work-related (...) bullying behaviour significantly mediated the relationship between instrumentality climate and two of the dimensions of organizational commitment. Significant relationships between ethical climate dimensions and organizational commitment can also be detected. By emphasizing a required ethical climate dimension for organizations this study therefore presents in outline a partial strategy to reduce bullying behaviour and to increase organizational commitment. (shrink)

This article charts the broad and transforming effects of the European Enlightenment and the Jewish Haskalah on Zionism and on modern Israel’s government, judiciary, and political discourse. It tra...

In L. Frank Baum's story, Ozma of Oz, which is a sequel to Baum's much more famous story, The Wonderful Wizard of Oz, Dorothy and her companion come upon a wound-down mechanical man bearing a label on which are printed the following words: Smith and Tinker's Patent Double-Action, Extra-Responsive, Thought-Creating Perfect-Talking MECHANICAL MAN Fitted with our Special Clock-Work Attachment Thinks, Speaks, Acts, and Does Everything but Live As Dorothy and her companion are made to discover when they wind up (...) this man, he is indeed capable of doing all the things of which his label boasts—acting, speaking and even thinking. But as Tik-Tok himself insists, and no one in the story casts doubt on the matter, he is not alive. (shrink)

A robot that is easy to teach not only has to be able to adapt to humans but also has to be easily adaptable to. In order to develop a robot with mutual adaptation ability, we believe that it will be beneficial to first observe the mutual adaptation behaviors that occur in human–human communication. In this paper, we propose a human–human WOZ (Wizard-of-Oz) experiment setting that can help us to observe and understand how the mutual adaptation procedure occurs between (...) human beings in nonverbal communication. By analyzing the experimental results, we obtained three important findings: alignment-based action, symbol-emergent learning, and environmental learning. (shrink)

This paper gives an overview of pro-active meeting assistants, what they are and when they can be useful. We explain how to develop such assistants with respect to requirement definitions and elaborate on a set of Wizard of Oz experiments, aiming to find out in which form a meeting assistant should operate to be accepted by participants, and whether the meeting effectiveness and efficiency can be improved by an assistant at all. This paper gives an overview of pro-active meeting (...) assistants, what they are and when they can be useful. We explain how to develop such assistants with respect to requirement definitions and elaborate on a set of Wizard of Oz experiments, aiming to find out in which form a meeting assistant should operate to be accepted by participants, and whether the meeting effectiveness and efficiency can be improved by an assistant at all. (shrink)

Personal values have long been associated with individual decision behavior. The role played by personal values in decision making within an organization is less clear. Past research has found that managers tend to respond to ethical dilemmas situationally. This study examines the relationship between personal values and the ethical dimension of decision making using Partial Least Squares (PLS) analysis. The study examines personal values as they relate to five types of ethical dilemmas. We found a significant positive contribution of altruistic (...) values to ethical decision making and a significant negative contribution of self-enhancement values to ethical decision making. (shrink)