This paper is concerned with the determination of the proof-strength of the power set axiom relative to axiom systems for Feferman's explicit mathematics. As conjectured by Feferman, we obtain that the presence of the power set axiom does not increase proof-strength. Results are achieved by reducing the systems including the power set axiom to subsystems of classical analysis. In those cases where only the induction axiom is available, we make use of the technique of asymmetrical interpretations.

We have synthesized a 582,970-base pair Mycoplasma genitalium genome. This synthetic genome, named M. genitalium JCVI-1.0, contains all the genes of wild-type M. genitalium G37 except MG408, which was disrupted by an antibiotic marker to block pathogenicity and to allow for selection. To identify the genome as synthetic, we inserted "watermarks" at intergenic sites known to tolerate transposon insertions. Overlapping "cassettes" of 5 to 7 kilobases (kb), assembled from chemically synthesized oligonucleotides, were joined by in vitro recombination to produce intermediate (...) assemblies of approximately 24 kb, 72 kb ("1/8 genome"), and 144 kb ("1/4 genome"), which were all cloned as bacterial artificial chromosomes in Escherichia coli. Most of these intermediate clones were sequenced, and clones of all four 1/4 genomes with the correct sequence were identified. The complete synthetic genome was assembled by transformation-associated recombination cloning in the yeast Saccharomyces cerevisiae, then isolated and sequenced. A clone with the correct sequence was identified. The methods described here will be generally useful for constructing large DNA molecules from chemically synthesized pieces and also from combinations of natural and synthetic DNA segments. 10.1126/science.1151721. (shrink)

: An attempt at defending a version of John Yolton's non‐representationalist reading of Locke's account of perception against Vere Chappell's very threatening criticisms. Concerning this version, which takes ideas to be appearances, Chappell questioned their identity criteria, their relation to what they are appearances of, and their nature in general.

In late August 2012, artist Paul Thomas and philosopher Timothy Morton took a stroll up and down King Street in Newtown, Sydney. They took photographs. If you walk too slowly down the street, you find yourself caught in the honey of aesthetic zones emitted by thousands and thousands of beings. If you want to get from A to B, you had better hurry up. Is there any space between anything? Do we not, when we look for such a space, (...) encounter a plenitude of other things —a slice of plaster, an old vinyl record, a flattened piece of aluminum, painted metal surfaces, nameless interstitial powder, the reflection of sky, some letters of the alphabet, roughened concrete. Between what we take to be things there exist other things, as if the universe were jammed with entities like clowns in a crowded Expressionist painting. An abyss of things that emanates from them, not a yawning void that threatens to engulf them, but a sunlit nothingness filled with dust that seems to spray out of them like dry mist sparkling with firefly swarms. In these so-called spaces, we encounter the work of causality. Look: someone painted over this crack, some sunlight rippled in a mirage, a hole appeared. When we look for causes and effects, we don't encounter a basement of efficiently whirring machinery. Rather, we encounter these in-between spaces, where we had not thought to look. What we see are stage hands moving the scenery about—they are doing it in plain sight, the best place to hide, right in front of you, in the place we call the aesthetic dimension . In Tibetan Buddhism these spaces are called bardo , which just means the between. There is no such thing as a moment of your life that is not a between, according to this view. There is the between of living. There is the between of dying. There is the between of the transition between lives. There is the between of dreaming. There is the between of meditation. There is the between of two humans holding cameras walking down a street in Sydney. The between of two buildings, a space bursting with objects as if a billion jack in the boxes had exploded at once. Some of the lids are stuck, sometimes a nose bursts out and the hinge won't open any further; at other times, the jack in the box flies right out and pulps against the wall on the opposite side of the room. Time opens up. Each surface is a poem about the past. A myriad stories begin to proliferate, as if a thing were a crisscrossing of books, a whole library of them, each page whispering parts of paragraphs and broken pieces of word. The stories tell us things—they are quite literal, look, this guy painted part of this wall, then they came and stripped off the panel and touched up the holes. Form is the past. When you look at appearance, you are looking at the past. Where is the present? And essence is the future. The hints of unknown, unseen things, the absolute impossibility of grasping everything about this plastic pipe, the way photons entering the camera lens obey a speed limit and splash onto receptors, going into and out of coherence. At the electronic level, it's quite clear that causality is aesthetic. I can't see an electron without deflecting it. Everything is a refrigerator with a light on—or off—inside. For me, for you, for this arrangement of tiles sandwiched between a door and a slab of marble. To a photon, an electron is a refrigerator with a closed door, and a light that might be on—or off—inside. How can you know whether the light is on inside? Why, you open the door of course. But then you are looking at the past. You never see the light in the refrigerator before you open the door. This future is not a predictable future that is a specific number of now-points away. You will never reach it. You will never be able to sneak up from the side and see through the refrigerator. Nor can a photon see through the refrigerator of an electron. Nor can paint see through the refrigerator of this plastic pipe. You take a photo—click—the past appears, another open refrigerator. But the thing you have just made, the photograph, the graphing of the photons—it is another thing, another story. You can read the words, but the meaning always eludes you. It always lurks just off the edge of the sentence, just at the very edge of this ragged slice of paint, just at the edge of this building, between this one and that one. Thousands of secrets, everywhere. Masks that lie and tell the truth at the same time: this pink paint is not blue paint, that's true. But the thing, the thing in itself, that paint sliding off a brush onto that pipe—it is nowhere to be seen, like a light behind a closed door. When you walk too slowly down the street, you start walking into millions of levels of pastness, levels emitted not just by the humans or the dogs and cats, but also by this garbage can, this mottled pink surface pockmarked with nail holes. You walk surrounded by as many futures as there are things. You walk, or rather you occupy a peculiar shifting ground of nowness, created by the relative motion of the past sliding against the future, not touching. You begin to realize that the present does not exist. A thing is a train station where one train is always arriving and one train is always leaving. Hundreds of train stations everywhere, hundreds of relative motions. The idea of a universal, regular, atomic sequence of instants that contains everything is absolutely ludicrous, the philosophers have known this for thousands of years, and to hide the absurdity, to get from A to B, Houston to Sydney, crossing the International Date Line without too much laughter, you have embedded piezoelectric devices in as many pieces of hardware as possible, devices in which quartz talks to electrons, making train stations where the trains seem to run on time. When you walk too slowly down the street, you begin to realize that Zeno had a point. You can seemingly divide each moment, each step, infinitesimally. So perhaps there are no moments, no steps. Or perhaps time is not a box that everything goes in. Perhaps time is, as Einstein argued after all, a way that things send out ripples. Where one house touches another house, there arise hundreds of things, hundreds of meeting places (Old English thing , meeting place). Hundreds of times. I have a thing for you. Come over here, let's do a thing. Stay in the sunlight and shadow between worlds, in the sunlit canyon between this building and that building. See how paint touches this pipe, caressing then leaving, no one will notice if a surface is left exposed, not quite filled in. See how shadows are reflected in pale cream glass—see the luminous abyss of causality spreading out before your very eyes, right in front of security. All kinds of beautiful crimes are committed right here, and as American cars keep telling you, and you never notice, OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR. They are here, or rather, here is them, and now is them. Kissing in the shadow. Tim Morton Rice University. (shrink)

Whoever enters a food store in Switzerland, nowadays, most probably passes by a conspicuous crate for depositing empty glass containers for Toni yogurts. But who actually would know that the story behind the recyclable glass containers is one of the most interesting and informative cases, where one company successfully integrated ecological considerations of society-at-large into their company's marketing strategy, making it eventually a great business success. It is an encouraging story for those who are trying to find ways (...) to include a sense of social responsibility into company policies without calling for more state intervention to bring it about. It is a sobering story at the same time, leaving little doubt, that there are no easy and undisputed solutions for complex and ambiguous problems. (shrink)

A celebration of a distinctly American form of commercial architecture The only comprehensive history of America's 5-&-10-cent stores It was where you went to browse the latest issues of Life and Photoplay, where the folks bought reading glasses, and where your mom took you for a hot dog and a malted. It was the local 5-&-10-cent store, and it was an integral part of everyday life. In this lavishly illustrated homage to the 5-&-10-cent store, architectural historian Bernice Thomas looks (...) at the architectural achievements of the Kress Company. Devoted to bringing outstanding design to Main Street America, Kress supported an architectural division of more than 100 architects and draftsmen. The over 200 stores these people designed and built between 1900 and 1950 set a new standard in commercial architecture. Thomas takes us on an illustrated tour of sites across the United States —from New Orleans to Honolulu, Albuquerque to New York. She introduces us to the architects and how they deftly balanced sound merchandising principles with aesthetics. (shrink)

Towards the end of her famous 1971 paper “Causality and Determination”, Elizabeth Anscombe discusses the controversial idea that “ ‘physical haphazard’ could be the only physical correlate of human freedom of action”. In order to illustrate how the high-level freedom of human action can go together with micro-indeterminism without creating a problem for micro-statistics, she provides the analogy of a glass box filled with minute coloured particles whose micro-dynamics is subject to statistical laws, while its outside reliably displays a (...) recognisable variation of a certain image created by an external cause. Anscombe’s example is somewhat enigmatic, and she provides no details to support its viability. In this paper we discuss the context of Anscombe’s analogy, and we provide basics of the theory and practice of building an Anscombe box. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:332 BOOK REVIEWS toral inventions (such as basic Christian communities), and the religious backgrounds of millions who help to make up the churches, Catholic and Protestant, of the United States. Providence College Providence, RI EDWARD L. CLEARY, O.P. Springs of Action: Understanding Intentional Behavior. By ALFRED R. MELE. New York and Oxford: Oxford University Press, 1992. Pp. 272 + ix. $39.95 (cloth). Alfred Mele's overarching aim in this book (...) is to offer an account of the role of intentions in the explanation of intentional action. He works within the familiar terms of causal theories of action, and is particularly indebted to Donald Davidson. In Part I, Mele borrows a set of theses from Davidson's desire/belief model of intentional action, and in the process of addressing problems associated with these theses, he progressively refines an account of action that understands an agent's reasons to have explanatory force by virtue of being among the causes of action. In Part II, Mele argues that desire/belief models are insufficient as they stand and need to be filled out by recognizing that intentions provide a crucial link between reasons and actions. The discussion begins with the vexed question of how the content of mental states can be relevant to the causal explanation of action. We constantly appeal to our desires, beliefs, plans, and so on (i.e., to various propositional, or intentional, attitudes) in explaining our behavior. But how does, say, my appetite for good wine and my belief that the house chardonnay is such a wine figure in the causal order that brings about my act of ordering a glass of it? Presumably, these intentional states supervene upon certain physical states of my body, and the latter do the causal work of producing wine-ordering behavior. However, there are good reasons to think that, with certain sorts of changes in my history and environment (viz., of the sort described in twin earth thought experiments), these physical states could be the realization of different intentional states. So can a causal theory of action actually accord my desires and beliefs any role in explaining my action? Mele argues that even if we hold (with externalists) that the agent's history and environment help to fix the content of her intentional states, we can nonetheless say that unless the agent had intended what she did, she would not have acted as she did. The behavior is intentional action by virtue of issuing (in the right way) from physical processes BOOK REVIEWS 333 that realize the agent's reasons for acting, and these processes realize these reasons only if the processes have an appropriate causal history. The result is that what we desire, believe, and intend does after all make a systematic difference in what we do. Mele makes some helpful refinements in the standard account of the causal role of desire in intentional action. It has typically been claimed that when an agent's wants compete, the "strongest" of them deter· mines the action; if an agent wants to do A more than anything else that she takes herself to be able to do, then if she acts intentionally she will do A. Mele points out that this general claim must be qualified so as to index desires to times, to accommodate both unsuccessful at· tempts and the agent's estimates of the likelihood of success, and to deal with the complex relations between desires. He explores the way in which agents are able to control the motivational strength of their desires, and he works out a definition of irresistible desire. One of the deepest challenges to the claim that action is caused by what we most desire arises in considering "motivational ties." How, on this account, is intentional action possible when we equally desire each of two incompatible alternatives? An arbitrary decision procedure can be adopted (e.g., a coin toss), but this alone does not en· hance the attractiveness of the randomly selected alternative. Here Mele introduces his thesis about intentions: viz., that intentions have an "executive quality that is not reducible to desire-strength" (p. 72), so that even when there is no preponderant motivation to do A... (shrink)

Albert Renger-Patzsch's contribution to the avant-garde photography of the 1920s and early 1930s established his leading role in the history of the medium. Die Welt is Schon or The World is Beautiful became of the most influential photographic books ever. His cool, clinical pictures, with their details of technical apparatus, industrial products and natural organisms, were models of a new artistic vision, combining objectivity and order with beauty and technology. This volume accompanies a major retrospective at the Sprengel Museum in (...) Hanover celebrating the centenary of the innovative artist. It is edited by the founders and directors of the Albert Renger-Patzsch Archive in Cologne and contains the much publicized Icons of New Objectivity - the famous still lives of Jena glass, or rows of flat irons at a shoe factory - and lesser known pictures of landscapes and architecture, a selection of city portraits and photographic studies of trees and stones. (shrink)

Some time in the late 1590s, the Welsh amateur mathematician John Bulkeley wrote to Thomas Harriot asking his opinion about the properties of a truly gargantuan (but totally imaginary) plano-spherical convex lens, 48 feet in diameter. While Bulkeley’s original letter is lost, Harriot devoted several pages to the optical properties of “Mr Bulkeley his Glasse” in his optical papers (now in British Library MS Add. 6789), paying particular attention to the place of its burning point. Harriot’s calculational methods in (...) these papers are almost unique in Harriot’s optical remains, in that he uses both the sine law of refraction and interpolation from Witelo’s refraction tables in order to analyze the passage of light through the glass. For this and other reasons, it is very likely that Harriot wrote his papers on Bulkeley’s glass very shortly after his discovery of the law and while still working closely with Witelo’s great Optics; the papers represent, perhaps, his very first application of the law. His and Bulkeley’s interest in this giant glass conform to a long English tradition of curiosity about the optical and burning properties of large glasses, which grew more intense in late sixteenth-century England. In particular, Thomas Digges’s bold and widely known assertions about his father’s glasses that could see things several miles distant and could burn objects a half-mile or further away may have attracted Harriot and Bulkeley’s skeptical attention; for Harriot’s analysis of the burning distance and the intensity of Bulkeley’s fantastic lens, it shows that Digges’s claims could never have been true about any real lens (and this, I propose, was what Bulkeley had asked about in his original letter to Harriot). There was also a deeper, mathematical relevance to the problem that may have caught Harriot’s attention. His most recent source on refraction—Giambattista della Porta’s De refractione of 1593—identified a mathematical flaw in Witelo’s cursory suggestion about the optics of a lens (the only place that lenses appear, however fleetingly, in the writings of the thirteenth-century Perspectivist authors). In his early notes on optics, in a copy of Witelo’s optics, Harriot highlighted Witelo’s remarks on the lens and della Porta’s criticism (which he found unsatisfactory). The most significant problem with Witelo’s theorem would disappear as the radius of curvature of the lens approached infinity. Bulkeley’s gigantic glass, then, may have provided Harriot an opportunity to test out Witelo’s claims about a plano-spherical glass, at a time when he was still intensely concerned with the problems and methods of the Perspectivist school. (shrink)

The interdisciplinary research area Cognitive Interaction Technology (CIT) aims to understand and support interactions between human users and other elements of socio-technical systems. Important reasons for the new interest in understanding CIT in sport psychology are the impressive development of cognitive robotics and advanced technologies such as virtual or augmented reality systems, cognitive glasses or neurotechnology settings. The present article outlines this area of research, addresses ethical issues, and presents an empirical study in the context of a new measurement and (...) assessment system for training in karate. Recent advances in the field of cognitive assistance systems enabled largely automatized assessments of individual mental representation structures for action sequences, such as choreographed movement patterns in dance or martial arts. Empirical investigations with karate practitioners of different skill levels demonstrate that advanced software-based survey and algorithmic analysis procedures based on cognitive models generate individualized performance predictions for a movement sequence from theKanku-dai kata(a pre-defined karate movement sequence), which correlated significantly not only with formal expertise (kyu/danrank) but also with the actual likelihood of mistakes in action execution. This information could prospectively be used to define individual training goals for deliberate practice and incorporated into cognitive interaction technology to provide appropriate feedback. We argue that the development of cognitive interaction systems for sport should explicitly take ethical issues into consideration and present a particular developed engineering approach. The potential benefits of such an assistance system for intermediate and advanced practitioners include more effective and flexible practice, as well as supportive effects, and more flexible training schedules. Furthermore, we argue that researchers from the field of sport psychology can benefit from advances in technological systems that enhance the understanding of mental and motor control in skilled voluntary action. (shrink)

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and (...) often displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

In this article, Ms. Krieger explores the controversy concerning pregnancy disability leave presented by the case of California Federal Savings v. Guerra in light of Thomas Kuhn's model of scientific paradigm change and Carol Gilligan's theory regarding sex differences in moral reasoning. She argues that the controversy reflects a period of paradigm crisis in equality jurisprudence, brought about in part by the recent inclusion of greater numbers of women into the jurisprudential community.

In recent years, social scientists have turned their critical lens on the historical roots and contours of their disciplines, including their politics and practices, epistemologies and methods, institutionalization and professionalization, national development and colonial expansion, globalization and local contestations, and their public presence and role in society. The Social Sciences in the Looking Glass offers current social scientific perspectives on this reflexive moment in the social sciences. Examining sociology, anthropology, philosophy, political science, legal theory, and religious studies, the volume's (...) contributors outline the present transformations of the social sciences, explore their connections with critical humanities, analyze the challenges of alternate paradigms, and interrogate recent endeavors to move beyond the human. Throughout, the authors, who belong to half a dozen disciplines, trace how the social sciences are thoroughly entangled in the social facts they analyze, and are key to helping us understand the conditions of our world. Contributors. Chitralekha, Jean-Louis Fabiani, Didier Fassin, Johan Heilbron, Miriam Kingsberg Kadia, Kristoffer Kropp, Nicolas Langlitz, John Lardas Modern, Álvaro Morcillo Laiz, Amín Pérez, Carel Smith, George Steinmetz, Peter D. Thomas, Bregje van Eekelen, Agata Zysiak. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 517 My second concern is whether Dulles needs to develop more explicitly the liturgical dimension of the tradition as a type of tacit knowing. To be sure, Dulles is open to seeing the divine liturgy as an important source for what he refers to as " traditioning " (cf. 33-34). Furthermore, his personal commitment to the traditional liturgy's unique mode of communication can be quite passionate, as (...) when he states: In countries such as the United States young people cannot even imagine what it must have been like to live in the Catholic Church of fifty years ago. They frequently worship in churches or auditoriums barren of shrines and statues. They are ignorant of the an· swers that their parents or grandparents memorized out of a catechism. They know practically no prayers by heart, and are perhaps unable to say the Angelus or the Rosary. They are so open to the world that they are almost drowning in secularity (101; cf. also 19). Nevertheless, personal conviction seems to give rise to little theoretical reflection about why this sort of symbolism is so central to the Catholic tradition. Liturgy's function in communicating the rule of faith of Christian communities receives no separate chapter and appears as a decidedly secondary source of theological reflection. Here he could perhaps have been illuminated by Jean-Luc Marion's philosophical meditations on the symbolism of the Eucharist as presence and gift. The Craft of Theology will serve as absorbing reading for graduate students who are just beginning to study theology. That is not to say that Dulles's book is only an autobiographical retrospect on the profession which he has ably practiced for more than half a century. Whether understood as a stimulant to ·thinking judiciously about the living tradition of the Catholic church or as a guide for contemporary ecclesial communities of different confessions seeking to recover the catholicity of the Christian tradition, Dulles's system will be a no less than invaluable resource to Christian theologians. The Catholic University of America.Washington, D.C. PETER J. CASARELLA "Un maitre en theologie: Le Pere Marie-Michel Labourdette, O.P." Revue Thomiste 92, No. 1 (January-March, 1992). Toulouse: Ecole de theologie, 1992. Pp. 428. 130F. This collection of twenty essays serves as an intriguing introduction to the life and thought of the Dominican professor and moral theologian P. Marie-Michel Labourdette, who worked for most of his religious life at the Dominican studium of St. Maximin of the Province 518 BOOK REVIEWS of Toulouse. Prefaced by two contributions of biographical interest, and completed by a comprehensive bibliography, the core selections crystalize around two poles of interest. First, they explore the character of Labourdette's thought and methodology, both as a churchman and a Thomist. Especially enlightening here are the essays by M. Larive, " Quaedam impressio divinae scientiae, la theologie selon le P. Labourdette " and 5.-Th. Bonino, "Le thomisme du P. Labourdette." Second, other essays succeed in capturing this Thomistic thinker in flight, as it were, as his incisive powers of analysis and synthesis reveal themselves in his treatment of various theological questions. I would especially recommend here A. D. Mongillo's "La fin derniere de la personne humaine," C. J. Pinto de Oliveira's "La prudence, concept cle de la morale du P. Labourdette," and T.-D. Humbrecht's "Le peche originel selon le P. Labourdette." These essays skillfully coalesce and complement each other, forming, as with the variously tinted panes of a stained-glass window, a multi-colored illumination of their subject. What emerges from this well-composed assemblage is a devoted homage to a theologian creatively faithful to his inherited traditions. This creative fidelity to the depositum fidei, and to a Thomistic legacy invigoratingly alive in his own work, forms the intellectual principle by which P. Labourdette sought to perceive and understand the many new insights and developments that cannot help hut teem before any alert, twentieth-century mind. P. Lahourdette addresses himself to theological issues using an approach both classical and flexible, deep, yet clear. This clarity is of such an order that it reveals to the contemporary reader aspects of traditional theological investigation that have been... (shrink)

Thomas Becket's miracles formed the chief subject of the early thirteenth-century stained glass installed in the twelve ambulatory windows surrounding Becket's magnificent shrine in the Trinity Chapel of Canterbury Cathedral. This article argues that three of the five surviving miracle stories portrayed in the glass of nlV, a well-preserved window on the north aisle, have been misread. Rather than picturing miracles of pilgrims from Oxford, Essex and Warwickshire, these panels recount the miracles experienced by people from the (...) environs of Canterbury and Dover, namely William of Dene, a paralysed knight; Goditha, a crippled laywoman of Canterbury; and Saxeva, a laywoman of Dover suffering from an abdominal complaint and pain in her arm. With these new readings in place, it is possible to see that all the surviving narratives in nIV are devoted to local miracles, a remarkable and hitherto unrecognised commemoration of Thomas Becket's Kentish cult in the cathedral's glass. The focus on local pilgrims in Canterbury's nIV is comparable to the 'trade', 'donor' or 'signature' panels in the contemporary stained glass at Chartres Cathedral. (shrink)

Thomas C. Vinci argues that Kant's Deductions demonstrate Kant's idealist doctrines and have the structure of an inference to the best explanation for correlated domains. With the Deduction of the Categories the correlated domains are intellectual conditions and non-geometrical laws of the empirical world. With the Deduction of the Concepts of Space, the correlated domains are the geometry of pure objects of intuition and the geometry of empirical objects.

Book I: Before -- The origin -- Book II: Genesis -- Here goes nothing -- The light at the end of the tunnel -- Directions -- The geography of nowhere -- Book III: In residence -- Foyer -- Living room -- Dinner party -- East Room -- West Wing -- A room of one's own -- The children's hour -- In the garden -- Reflecting pool -- Book IV: Public library -- Dictionary of nothing -- The reading room -- Writers' (...) room -- In the stacks -- Samuel Beckett -- Italo Calvino -- E.M. Cioran -- Edmond Jabès -- Thomas Merton -- Rumi -- William Shakespeare -- Poets' corner -- Through a glass darkly -- The classics -- Book V: Concert Hall -- Overture -- Silence of the spheres -- Symphonies of silence -- Moments of silence -- The audience -- Book VI: School -- Knowing nothing -- The joy of unknowing -- Mathematics -- The arts -- Science sutra -- Creative thinking -- Paradoxical logic -- Master class -- Recess -- Final exam -- Book VII: Museum -- Permanent collection -- The moderns -- Warhol retrospective -- Gallery of blind spots -- In studio -- Nothing is beautiful -- Book VIII: Theater district -- Comedy tonight -- Mostly mystery -- Sing along -- In the wings -- Theater of the absurd -- Book IX: House of worship -- Nothing is sacred -- Seminary -- House of doubt -- Practicing nothing -- Book X: Downtown -- City hall -- At the office -- Inn on Main Street -- Restaurant -- Corner bar -- Wall Street -- Book XI: City limits -- This way out -- Tunnel at the end of the light -- Cemetery -- Last words -- After lite. (shrink)

'Methinks I am like a man, who having narrowly escap'd shipwreck', David Hume writes in A Treatise of Human Nature, 'has yet the temerity to put out to sea in the same leaky weather-beaten vessel, and even carries his ambition so far as to think of compassing the globe'. With these words, Hume begins a memorable depiction of the crisis of philosophy and his turn to moral and political philosophy as the path forward. In this groundbreaking work, Thomas W. (...) Merrill shows how Hume's turn is the core of his thought, linking Hume's metaphysical and philosophical crisis to the moral-political inquiries of his mature thought. Merrill shows how Hume's comparison of himself to Socrates in the introduction to the Treatise illuminates the dramatic structure and argument of the book as a whole, and he traces Hume's underappreciated argument about the political role of philosophy in the Essays. (shrink)

In _Georg Wilhelm Friedrich Hegel – A Propaedeutic_, Thomas Sören Hoffmann invites the philosophically interested reader to converse with, to work with, and to think with the “master philosopher of German Idealism,” the last great system builder of European philosophy.

The present work is a study of the method of contemporary Soviet philosophy. By "Soviet philosophy" we mean philosophy as published in the Soviet Union. For practical purposes we have limited our attention to Soviet sources in Russian in spite of the fact that Soviet philosophical works are also published in other languages (see B 2029(21)(38». The term "method" is taken in the sense usual in Western books on methodology .1 In view of the content of the first chapter it (...) will be useful to explain the last term a little more fully. By method we mean a procedure and it is obvious that the principles according to which a procedure is carried out are rules, i.e. imperatives, which tell us not what is but what should be done. Such imperatives mayor may not be connected with and founded on certain descriptive statements (the fact that every rule of formal logic is based on a corresponding law has been well-known since Husserl's "Logische Unter suchungen" and is generally accepted in contemporary logic), but such a foundation is irrelevant to a methodological study. The object of such a study is to find out what these rules are, why they are accepted and how they are inter-connected and applied. This is how methodology - the science of method - is conceived in Western treatises on the subject and this is also the standpoint assumed here. (shrink)

Humanity’s creative capacity has never been more unsettling than it is at our current moment, when it has ushered us into new technological worlds that challenge the very definition of “the human.” Those anxious to safeguard the human against techno-scientific threats often appeal to religious traditions to protect the place and dignity of the human. But how well do we understand both theological tradition and today’s technological culture? In _The Indiscrete Image, _Thomas A. Carlson challenges our common ideas about both, (...) arguing instead that it may be humanity’s final lack of definition that first enables, and calls for, human creativity and its correlates—including technology, tradition, and their inextricable interplay within religious existence. Framed in response to Martin Heidegger’s influential account of the relation between technological modernity and theological tradition, _The Indiscrete Image_ builds an understanding of creativity as conditioned by insurmountable unknowing and incalculable possibility through alternative readings of Christian theological tradition and technological culture—and the surprising resonance between these two. Carlson concludes that the always ongoing work of world creation, tied essentially to human self-creation, implies neither an idol’s closure nor an icon’s transcendence, but the “indiscrete image” whose love makes possible—by keeping open—both the human and its world. (shrink)

Biographical note: Thomas Alkemeyer (Dr. phil.) ist Professor für Soziologie und Sportsoziologie an der Carl von Ossietzky Universität Oldenburg. Ulrich Bröckling (Dr. phil.) ist Professor für Kultursoziologie an der Albert-Ludwigs-Universität Freiburg. Tobias Peter (Dr. rer. pol.) ist wissenschaftlicher Mitarbeiter am Institut für Soziologie der Albert-Ludwigs-Universität Freiburg.

This is a book that contrary to common practice, shows the commonalities of ancient and modern theories of freedom, law, and rational actions. Studying the works of the ancients is necessary to understanding those that follow. Thomas Chaimowicz challenges current trends in research on antiquity in his examination of Montesquieu's and Burk's path of inquiry. He focuses on ideas of balance and freedom. Montesquieu and Burke believe that freedom and balance are closely connected, for without balance within a state (...) there can be no freedom. When Montesquieu speaks of republics, he means those of antiquity as they were understood in the eighteenth century. In this view, freedom can develop only within the framework of established tradition. Edmund Burke's greatest service to political thought may lie in making use of this idea when he fought against the abstractions of the French Revolutionaries. Antiquity as the Source of Modernity examines Montesquieu's "Roman mind," meaning not an attitude influenced by the ancients, but one primarily influenced by Roman heritage. It speaks to the antithesis of monarchy and despotism in Montesquieu's thought and the influence of Tacitus and Pliny the Younger on him. The separation of powers and its relation to the concept of the mixed constitution as well as Montesquieu's smaller masterpiece Considerations on the Causes of the Grandeur and Decadence of the Romans are examined in detail. Finally, the discussion leads seamlessly to Burke, who, as a critical admirer of Montesquieu, partly incorporated his interpretation of the English constitution into his own thinking threatened by teachings of the French Revolution and its British adherents. The central idea of Antiquity as the Source of Modernity is timeless. It is that the ancient past can lead to a clearer understanding of what follows. This perspective represents a reversal of the conventional procedures for conducting this kind of research, but it is a reversal that Chaimowicz embraces in order to add a new dimension to the study and impetration of both Montesquieu and Burke. Thomas Chaimowicz was a distinguished visiting professor at the International Academy of Philosophy in the Principality of Liechtenstein and honorary professor of Roman Lay at the University of Salzburg. This is the final work commissioned by the late Russell Kirk for his efforts on behalf of the Transaction Library of Conservative Thought. (shrink)