R W K Paterson; Towards an Axiology of Knowledge, Journal of Philosophy of Education, Volume 13, Issue 1, 30 May 2006, Pages 91–100, https://doi.org/10.1111/j.1.

W. F. R. Hardie; X—Aristotle's Doctrine that Virtue is a “Mean”, Proceedings of the Aristotelian Society, Volume 65, Issue 1, 1 June 1965, Pages 183–204, https.

Volume 28, Issue 1, January 2020, Page 202-204.

Much of the early scholarship on Virgilian borrowings from Theocritus offered mere lists of parallel passages and, where criticism was attempted at all, the Eclogues often attracted such uncomplimentary labels as ‘cento’ or ‘pastiche’. In more recent scholarship the tendency to concentrate on insoluble problems and arithmetical correspondences lingers and, while some critical works of the sixties are characterized by a welcome upsurge in sensitivity, one occasionally suspects that Virgil has had attributed to him concepts which are two millennia ahead (...) of his time. To redress the balance, the following pages adhere to the text of Virgil and aim at being fairly conservative. Despite the volume of literature on the Eclogues, ample scope remains for differing interpretations, for the filling in of details and for a more methodical approach to the specific subject of borrowings from Theocritus. (shrink)

Volume 20, Issue 7, July 2020, Page W15-W16.

Hastings Center Report, Volume 52, Issue 3, Page 9-17, May–June 2022.

R. W. Ashby; XI—Entailment and Modality, Proceedings of the Aristotelian Society, Volume 63, Issue 1, 1 June 1963, Pages 203–216, https://doi.org/10.1093/aristo.

Volume 20, Issue 8, August 2020, Page W12-W13.

BackgroundInformed consent forms are intended to facilitate research enrollment decisions. However, the technical language in institutional templates can be unfamiliar and confusing for decision-makers. Standardized language describing financial implications of participation, namely compensation for injury and costs of care associated with participating, can be complex and could be a deterrent for potential participants. This standardized language may also be misleading in the context of comparative effectiveness trials of standard care interventions, in which costs and risk of injury associated with participating (...) may not differ from regular medical care. In addition, the revised U.S. Common Rule contains a new requirement to present key information upfront; the impact of how this requirement is operationalized on comprehension and likelihood of enrollment for a given study is unknown.MethodsTwo online surveys assessed the impact of (1) changes to compensation for injury language (standard vs. tailored language form) and (2) changes to the key information page (using the tailored compensation language form with standard key information vs. modified key information vs. modified key information plus financial information) on both likelihood of enrollment in and understanding of a hypothetical comparative effectiveness trial.ResultsLikelihood of enrolling was not observed to be different between the standard and tailored language forms in Study 1 (73 vs. 75%; p = 0.6); however, the tailored language group had a higher frequency of understanding the compensation for injury process specific to the trial (25 vs. 51%; p < 0.0001). Modifications to the key information sheet in Study 2 did not affect likelihood of enrolling (88 vs. 85 vs. 85%; p = 0.6); however, understanding of randomization differed by form (44 vs. 59 vs. 46%; p = 0.002).ConclusionsThese findings suggest that refining consent forms to clarify key information and tailoring compensation for injury language to the nature of the study, especially in the context of comparative effectiveness trials, may help to improve study comprehension but may not impact enrollment. (shrink)

A clear, well-written, but overly rapid introduction to Kroner's philosophical system. There is a brief biography and a good bibliography. The exposition proper is done in only eighty-eight pages, and in spite of good organization and careful writing gives a skeletal structure without sufficient flesh. Read along with one or more of Kroner's works, this book would help one to see how particular ideas fit into the larger system.--R. J. W.

The twenty volumes of the Robinet edition of the Oeuvres complètes de Malebranche contain a breadth, depth, and complexity of systemic metaphysical thinking that rivals that of any of the Modern philosophers. Yet there is no readily available translation in English of any of the works of Malebranche. This situation is a scandal of linguistic parochialism and textbook conservatism. Besides that, Malebranche is hard. Only four booklength studies have been attempted in English on the Malebranchean system in recent times: Ralph (...) Withington Church’s A Study in the Philosophy of Malebranche, Beatrice K. Rome’s The Philosophy of Malebranche, Craig Walton’s De la recherche de bien: A Study of Malebranche’s Science of Ethics, and now Daisie Radner’s historical/analytical study, Malebranche. In my estimation, this last is the best. Radner places Malebranche firmly in "The Cartesian Framework" and then provides comprehensive and concise expositions and interpretations in her six remaining chapters on the major Malebranchean themes: "Causality: The Doctrine of Occasionalism," "Vision in God," "Four Ways of Knowing," "Intelligible Extension," "The Polemic Concerning Ideas," "Will and Method." Her text is clean, and some of the arguments are elegantly expressed. Large amounts of Malebranchean metaphysics are distilled into detailed expositions compactly conveyed in a few pages. The substance of Malebranche’s critics and previous interpreters is chiseled down unmercifully, but is always fair. What remains is a solid, balanced précis of the essential content and structure of Malebranche’s highly original metaphysical system. (shrink)

R K Elliott; D. W. Hamlyn on Knowledge and the Beginnings of Understanding, Journal of Philosophy of Education, Volume 14, Issue 1, 30 May 2006, Pages 109–116.

In lieu of an abstract, here is a brief excerpt of the content:Response to Estelle R. Jorgensen, “Four Philosophical Models of the Relationship Between Theory and Practice”W. Ann StokesEstelle Jorgensen has written a most interesting paper contrasting four different concepts of the relationship between theory and practice, and pointing out the advantages and disadvantages of each. Each approach introduces insights that the others have missed, but is not sufficient in itself to explain all the relationships between theory and practice. In (...) response to the concept of "dichotomy," I am also sympathetic to the attempt to distinguish practice and theory because it identifies two important constituents of experience, and it provides a fruitful way of investigating the relationship between the two concepts. However, I believe that a concept of dichotomy may put the two categoriees in too distant a relationship with each other. This distance may prevent us from recognizing the "interconnections and cross-fertilizations" that are often possible between them.The idea of "polarity" opens up the possibility of focusing on the ground [End Page 102] between the two concepts. It also provides a framework for allowing "practice to bubble up into theory," and "theory to bubble up into practice." Given that a theory may bring about a range of different practices and that practices may be based upon a range of differing theories, one needs to be able to move easily between the two worlds. Imagination, intuition, and rational thinking all contribute to our understanding of the relationship between the two concepts. In this situation of polarity one should not expect to find "a theory perfectly translated into a particular practice, or a practice drawing entirely and fully on one particular theory."I am also sympathetic to the view that "theory without practice is mentalism," and that "practice without theory is activism or instrumentalism bare of guiding principles," but like Jorgensen I find the concept of fusion the least helpful of the four concepts. Given the fact that very rarely (if ever) is theory perfectly exemplified in practice, or practice based solely upon one specific theory, the concept of fusion in many instances is too absolute. I am open to the suggestion that moral principles as well as aesthetic ones should guide the practice of music education despite the difficulties that a multiplicity of perspectives opens up. I also agree that democratic ideals can offer us one way of guiding the decisions made in the classroom and can offer a rallying point for persons coming from different ethnic, religious, political, and cultural backgrounds.The dialectical approach opens up a way to negotiate among differences of opinion and beliefs that influence practice. It assumes that there is no one perfect perspective on the relationship between theory and practice. The dialectical approach provides (1)a framework to investigate the theories and practices of which practitioners are aware, (2)opportunities to examine how practitioners adjudicate them, and (3)explanations of how and why they decide to act "in their particular lived situations." In contrast to the ontological approach, I like Jorgensen's epistemological approach to the investigation of theory and practice. It offers another perspective in addition to the influence that ontological theories can have in guiding music education practice.My view of the ideal relationship between theory and practice is one that acknowledges the differences between the two concepts, but allows for a variety of relationships between the two. It is one that recognizes that theory should influence practice and that practice should influence theory in an ongoing and continuous reciprocal exchange. It entails being sensitive to a variety of theories and particular practices, and being skilled at being able to pick which particular theory or theories best explains the practice observed.In addition to the concepts of dichotomy, polarity, fusion, and dialectic, another possible concept of the relationship between theory and practice might be based upon Michael Lewis, Margaret Sullivan, and Linda Michalson's view [End Page 103] of the "cognitive-emotional fugue."1 This perspective has the advantage of being very flexible. The authors describe emotion and cognition as being neither separate nor independent processes. "Rather both are elements of a continuous, inseparable stream of behavior like the parts of a fugue in which the theme is often lost... (shrink)

D W Hamlyn; Knowledge and the Beginnings of Understanding: a reply to R. K. Elliott, Journal of Philosophy of Education, Volume 14, Issue 2, 30 May 2006, Pages.

In lieu of an abstract, here is a brief excerpt of the content:82 HISTORY OF PHILOSOPHY PEIRGE'S MARGINALIA IN W. T. HARRIS' Hegel's Logic Among the most eminent philosophers of nineteenth-century America were William Torrey Harris (1835-1909) and Charles Sanders Peirce (18391914 ). The former, by his establishment in 1867 of The Journal of Speculative Philosophy, furnished a starting point for American philosophical maturity. The latter, who contributed to that iournal, has been considered America's greatest logician. It may therefore be (...) of interest to examine Peirce's marginalia in the first edition of Harris' chief work, Hegel's Logic: A Book on the Genesis of the Categories of the Mind (Chicago: S. C. Griggs, 1890). Discovered by the present writer on a New York book-stall, in a cheaply priced, coverless, and water-stained copy, and now in his possession, it bears imprinted on the reverse of the title page: "Harvard University: Philos. Dept. Library. Gift of Mrs. Charles S. Peirce. June 28, 1915." Shortly after Peirce, in depressed circumstances, died on April 19, 1914, the Harvard Philosophy Department acquired from his wife the manuscripts that were published in the Collected Papers.1 Harris' Hegel's Logic, which presumably accompanied that transaction, contains several marginal annotations, mostly in faded ink, in a neat, small hand, similar to that reproduced in the frontispiece to Volume IV of Peirce's Collected Papers. Recalling a notable philosophical conjunction, the markings also reveal aspects of Peirce's character and confirm his complex attitude toward Hegel, crucial to the development of his philosophy. Peirce's shifting view and persistent concern regarding Hegel may be traced in some other remarks. For example, in a letter to Harris dated January 1, 1868, he says, "I admit there is music in the logic of Hegel, but that is all I discover there. ''2 In another letter to Harris, dated May 13, 1868, he indicates his ambivalence: "But as I should draw the line... I should come on the same side as Hegel, because I am idealistic. I do not 1eel very much opposed to Hegel, though I think his main point.s tin his own estimate of importance) are wrong. ''s About 1890, Peirce declared, "I reiect his philosophy in toto, ''~ and about 1896, he accused Hegel of reaching "each category from the last preceding by virtually calling 'next!'-5 Yet, in 1903, he acclaimed Hegel "in some respects the greatest philosopher that ever lived. ''6 And, in the very same year, reviewing another treatment of Hegel's logic, and including a reference to Harris' t Eds. Charles Hartshorne, Paul Weiss,and Arthur Burks (Vols.I-VIII; Cambridge: Harvard University Press, 1958). 2,.C.S. Peirce to W. T. Harris." ed. WallaceNethery, The Personalist,XLIII (19fi2),37. I am indebted to Dr. Nethery for his kindness in letting me see these letters in advanceof publication. sIbid.,40. 4Collected Papers,I, 193. 5 Ibid., I, 246. eIbid., I, 277. NOTES AND DISCUSSIONS 83 treatise, Peirce flatly remarks: "But all these Hegelians--Harris, XVallace, Hibben, Everett, etc.--who dog the steps of their master in almost textual comments, are profoundly unfaithful to the spirit of his philosophy... the Logik now condemns itself. ''7 A constant feature in Peirce's negative attitude toward Hegel concerns the latter's failure to equip himself scientifically to deal with a subject the American considered basically scientific. For instance, about 1899, Peirce writes: Hegel, while regarding scientific men with disdain, has for his chief topic the importance of continuity, which was the very idea the mathematicians and physicists had been chiefly engaged in following out for three centuries. This made Hegel's work less correct and excellent in itself than it might have been; and at the same time hid its true mode of affinity with the scientific thought into which the life of the race had been chiefly laid up. It was a misfortune for Hegelism~ a misfortune for "philosophy," and a misfortune (in lesser degree) for science: Although Peirce adds, "My philosophy resuscitates Hegel, though in a strange costume, ''9 and his dialectic parallels Hegel's, he attempts to escape the Hegelian subjectivism by an "objective logic" and by avoiding Hegel's supposed mathematical ignorance. "Most of what is true in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nihilistic Cosmology and Catonian Ethics in Lucan’s Bellum CivileR. Sklenár*For many years, a powerful communis opinio dominated the scholarly literature on Lucan: that the poet is not merely influenced by Stoicism but is himself a committed Stoic, who expounds his doctrines both in his own voice and in the speeches of Cato. 1 The obvious difficulty with this argument is that Cato’s Stoic ideal defies reconciliation with some of (...) the most powerful and characteristic utterances of Lucan’s authorial voice. A more recent line of interpretation, typified by W. R. Johnson (1987), John Henderson (1988), and Jamie Masters (1992), 2 has rejected the putatively Stoic Lucan in favor of a dark, sinister, at times grimly parodic poet who both describes and exemplifies a view of the cosmos as chaotic, fragmentary, and ultimately meaningless. Under this reading, which has gained currency mostly since the mid-1980s, 3 Lucan’s Cato becomes a nasty caricature both of the Stoic sage and of the traditional Roman vir bonus. 4 While this satirical interpretation of Lucan’s Cato represents a significant improvement over the orthodoxy which it has displaced, it still does not adequately account for the systematic opposition between Cato’s Stoic ideal and the universe in which he attempts to practice it, or for the painful futility of his attempt to make sense of a world where senselessness is sovereign.The Stoic morality according to which Cato regulates his life presupposes a Stoic cosmos, both governed by and part of a divine logos. This cosmos is reason and order, all its processes part of a divine plan. 5 Since the task of human beings is to understand this plan and [End Page 281] consciously to conform their actions to it, the highest ethical plane is reached when human reason, brought to perfection, governs all aspects of a person’s behavior, for it brings that person into harmony with the rationally ordered cosmos. In other words, the height of wisdom and the height of goodness are one and the same (Long and Sedley 1987, I 374). But Lucan deposits Cato into a universe devoid of reason, “one wholly without purpose or meaning” (Johnson 1987, 10), marked by “the blatant absence of any design” (8)—in short, a nihilistic universe, 6 where the cosmological prerequisites for Catonian ethics necessarily fail. Cato’s pursuit of the Stoic ideal is in a literal sense doomed from the start, as Lucan assigns a prominent section of the Bellum Civile’s long proem to an exposition of his anti-rational cosmology:Fert animus causas tantarum expromere rerum, immensumque aperitur opus, quid in arma furentem impulerit populum, quid pacem excusserit orbi. invida fatorum series summisque negatum stare diu nimioque graves sub pondere lapsus nec se Roma ferens. sic, cum compage soluta saecula tot mundi suprema coegerit hora antiquum repetens iterum chaos, [omnia mixtis sidera sideribus concurrent,] 7 ignea pontum astra petent, tellus extendere litora nolet excutietque fretum, fratri contraria Phoebe ibit et obliquum bigas agitare per orbem indignata diem poscet sibi, totaque discors machina divulsi turbabit foedera mundi.(1.67–80)As many commentators have noted, the imagery of this passage is strongly reminiscent of the Stoic theory of ekpyrosis, 8 in which the celestial fire draws the other elements up toward itself and thereby consumes [End Page 282] the entire universe; hence Lucan’s image of the stars falling into the sea (ignea pontum astra petent): in fact the sea would be rising up toward the stars, but Lucan adopts the perspective of a terrestrial observer, from which the stars would appear to be falling. The world-conflagration, moreover, is a metaphor for the civil war and its causes. 9 These causes, though multiple, are not discrete; instead, they comprise a chain of causation, as indicated by series in the first cause (invida fatorum series) and further suggested by the paratactic arrangement in which all four causes are listed. The semantic force of series does not confine itself to the first cause, but rather governs a sequence in which each cause results directly from its predecessor. Summisque negatum / stare diu and nimioque graves sub pondere lapsus, then, are both consequences of fate’s... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Death in the Greek World: From Homer to the Classical Age by Maria Serena MirtoJoseph W. DayMaria Serena Mirto. Death in the Greek World: From Homer to the Classical Age. Trans. by A. M. Osborne. Oklahoma Series in Classical Culture 44 Norman: University of Oklahoma Press, 2012. x + 197 pp. 10 black-and-white figs. Paper, $19.95.Mirto (with Osborne) has given us a readable book on a topic of (...) perennial interest, full of learning but unencumbered by the development of a comprehensive argument with full scholarly apparatus (there are no footnotes or endnotes). I devoured it on a couple of airplane rides, during which its intelligent presentation thoroughly distracted me from my physical discomfort. The book provided a clear and concise review of important topics which I have not studied intensely for years, and it initiated me into recent trends and made me thirsty to approach its suggestions for further reading—while avoiding the spring by the white cypress, of course.The volume is an expansion and updating, as well as a translation, of the Italian original, La morte nel mondo greco (Rome 2007). Much scholarship from 2007 and later is cited, especially in discussions of Dionysian and “Orphic” material (chap. 2). Important additions are a useful section on the confusing (to the uninitiated) topic of hero cults and “an appendix outlining fundamental developments in modern studies of death in the Greek world” (x). The latter traces an interesting journey through the history of mentalities from R. Hertz (Durkheim’s student), through E. de Martino and P. Ariès, on to C. Sourvinou-Inwood’s disagreement with I. Morris about change and stability in early Greek attitudes toward death.Mirto articulates her goal in the preface as “a general synthesis of people’s relationships with death in the Greek world... [a] survey of the ways in which archaic and classical Greek culture dealt with the trauma of death” (ix). One does not judge such a book on its original interpretations and scholarly arguments; other criteria apply. For example, how comprehensive (or representative) is the selection of topics, approaches, and examples? How useful (or user-friendly) is the selection, especially for the audience to which it is addressed?At the level of overall structure, Mirto scores high for comprehensiveness. Any treatment of Greek death must devote major attention to the three topics she announces : (1) “beliefs about the afterlife, on the boundary between literary imagination and religious faith”; (2) “funerary rituals and material evidence of the cult of the dead”; (3) “ideologies... that construct an ideal model of death, making it an acceptable, perhaps even desirable, event” (ix). Chapter 1 on traditional views, mostly derived from Homer (also treated in chap. 5.1), commences Mirto’s discussion of the first topic, which is continued in chapter 2 on more [End Page 337] optimistic eschatologies, especially those associated with Dionysus and Orpheus. The second topic is treated in chapters 3 (on death, mourning, and last rites) and 4 (on markers, epitaphs, and tomb and hero cult). Chapter 5 is devoted to the third topic, with particular attention to the development of the polis and Athens’ patrios nomos and funerary legislation. R. Garland’s widely used survey (The Greek Way of Death [Ithaca 1985], 2d ed. 2001) covers much the same ground, though that book’s feel is quite different. Garland provides a richness of source and scholarly citations that Mirto eschews; for example, Garland devotes twenty-three pages (chap. 7 and its dense endnotes) to visits to the grave, while Mirto barely touches on the matter.At the level of specifics, Mirto’s comprehensiveness is uneven. Reflecting her expertise in archaic and classical poetry, as well as her engagement with the history of mentalities, discussions of literature and some sub-literary textual material are excellent, while she is less full but still useful on iconography (especially that of white-ground lekythoi and sculpture) and polis regulations. Perceptions of comprehensiveness, of course, will vary among readers. Because of gaps in my knowledge, I learned most from Mirto’s presentation of Dionysian and “Orphic” material: the gold lamellae, the Olbia bones, the Derveni papyrus (chap. 2, with the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 584-585 [Access article in PDF] Phillip Cary. Augustine's Invention of the Inner Self: The Legacy of a Christian Platonist. New York: Oxford University Press, 2000. Pp. xvii + 214. Cloth, $45.00. In a gloss on the well-known gospel text, G. K. Chesterton noted that it is precisely because salt is unlike the foods it preserves that it is able to do (...) its distinctive work of preservation. Likewise, according to the thesis of this book, it is precisely because Augustine of Hippo invented his distinctive approach to interiority that he has done so much to preserve for the Western tradition the Platonic conception of the soul. Yet Augustine's contribution to the philosophy of the inner self is not simply one of inventio in the classical sense of a discovery of the Platonic self, it is also an innovation pointing philosophy in a new direction.Using a series of provocative images, Phillip Cary outlines the history of the idea of the private inner self in a way that highlights Augustine's distinctive contribution. He begins with Plato's Allegory of the Cave wherein the soul or self is an eye that has escaped the lower darkness to gaze upward away from itself toward the sun achieving intellectual vision. This idea is developed by Plotinus, for whom the soul is like a sphere revolving around the inner source of intelligibility at the center of things. This soul can look out toward the darkness or inward toward the intelligible light. In a further development, Augustine pictures the self as an inner palace with large courtyards open to the intelligible light of the sun such that the eye of the soul must turn inward and then upward to be enlightened. The final modern development is represented by Locke's picture of the self as a dark room where nothing but images are projected within through windows out of which the self cannot see, the intelligible light of the sun being kept out. Introducing the notion of the private inner life, Augustine is the forerunner of modern philosophy and all that has followed from the Cartesian turn. Yet Augustine is also a Platonist seeking the source of intelligibility that enlightens the inner self taking it beyond itself. This dual thesis is defended by Cary through a study of Augustine's place in the Platonic tradition of inner divinity. The task takes up the [End Page 584] first half of the book and builds on the well-known studies of Augustine's Platonism by J. J. O'Meara, R. J. O'Connell, and others. The second part of the book is devoted to Augustine's innovations of privacy and the inward-upward turn and yields some surprising discoveries that will interest the historian of philosophy.One surprise concerns Augustine's expressionist semiotics according to which signs are outward expressions of what is within. As a Platonist, however, Augustine also holds that signs signify intelligible things that nonetheless fail to be made truly intelligible by signs. The knower, then, does not grasp the intelligible thing from its being signified by the sign, but grasps the significance of a sign by knowing the intelligible thing it signifies. Thus, according to the De Doctrina Christiana, the correct interpreter of scripture is the one who already knows the spiritual things the words of scripture signify and, therefore, is not a slave to a literal interpretation of these words.Another surprise is Augustine's notion of grace as a sort of Platonic eros. Operating by attraction rather than coercion, grace is as much directed at the reason as the will. Thus, the discussions of grace as inward teaching in the anti-Pelagian works is a development of Christ, the inner teacher of the De Magistro, and Reason, the inner teacher of the Soliloquies.Yet another surprise concerns the traditional faith-reason problem. Rather than seeing faith and reason as contrasting modes of inner cognition of outward objects, Augustine associates faith with authority as external... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Peacebuilding: Catholic Theology, Ethics, and Praxis ed. by Robert J. Schreiter, R. Scott Appleby, Gerard F. PowersJames W. McCarty IIIPeacebuilding: Catholic Theology, Ethics, and Praxis Edited by Robert J. Schreiter, R. Scott Appleby, and Gerard F. Powers Maryknoll, NY: Orbis Books, 2010. 480pp. $27.00Peacebuilding results from a four-year research project sponsored by the Catholic Peacebuilding Network. A wide-ranging and interdisciplinary set of fifteen essays, Peacebuilding not only brings (...) to the fore the unique ways that Roman Catholic theology and practice has contributed to the global work of peacebuilding, but it also makes the case that the Catholic Church needs to develop a more robust theology of peacebuilding to complement and strengthen traditional Catholic approaches to the ethics of war and peace. The two most bold proposals along these lines are Daniel Philpott’s call for a papal encyclical on peacebuilding (92, 120) and Maryann Cusimano Love’s proposal of “just peace” criteria for guiding peacebuilding work in a fashion similar to the way “just war” criteria have guided the conduct of war (82, 425–27).Peacebuilding is organized into two main sections. The first documents and theorizes the work of Catholic actors and organizations in peacebuilding work. In one of the most helpful essays in this section, John Paul Lederach describes how the “ubiquitous presence” of the Catholic Church in a society is, in fact, one of the most unique contributions the Church has to make to global peacebuilding. Lederach uses the phrase “ubiquitous presence” to describe the unique role Catholic “actors” play within the “pyramid approach” to peacebuilding that he develops elsewhere (see Lederach, The Moral Imagination: The Art and Soul of Peacebuilding [New York: Oxford University Press, 2005], 79). Because of its hierarchical structure, the Catholic Church—especially in Catholic-majority countries—has the potential to cultivate peacebuilding allies among different sectors of a society: the elite, “midlevel” actors, and at the grassroots level. Many other peacebuilding actors—politicians, civil society activists, and the historic peace churches, for instance—do not have such a ubiquitous presence. While Lederach has previously emphasized the importance of midlevel actors in peacebuilding, in this essay he argues that the “ubiquitous presence” of the Catholic Church [End Page 213] in a society provides a basis for making connections for peacebuilding work among a range of sectors within a society. Several of the other contributors to this book draw on this observation and demonstrate its usefulness to a variety of settings. In my estimation, this is the most important contribution of the volume.The second section consists of six essays that both expand upon existing Catholic moral theology and make the case that Catholic theology needs to develop a more robust theology of peacebuilding. Here we find a range of arguments—from Robert Schreiter’s proposal for a practical theology of reconciliation and Peter Phan’s outline of a fourfold Catholic understanding of interreligious dialogue to Kenneth Himes’s discussion of the ways peacebuilding theory challenges and complements contemporary Catholic social teaching. Himes, in particular, claims that the current acceptance of a Catholic “presumption against war” requires a more robust Catholic approach to conflict transformation; in making his case, he draws on resonances between contemporary peacebuilding theory and recent reflections on jus post bellum (justice after war) as a new category of just war thinking.As in nearly every edited collection, the quality of the essays in Peacebuilding varies. I found the essays in the first section to be the most stimulating. Not only do they highlight the peacebuilding work the Catholic Church is currently doing around the world, they also ground their proposals for how we should understand and do peacebuilding from a Catholic perspective in relevant historical examples.Indeed, the varied nature of the essays in Peacebuilding is precisely what makes it a valuable resource for both researchers and teachers of peacebuilding. On the one hand, it includes essays that break new ground and move forward our understanding of the unique nature of Catholic peacebuilding. On the other, it includes essays that introduce the topic of peacebuilding to students of religion and ethics. This book, then, serves as an excellent resource for a range... (shrink)

I’m to push back on Hill’s (2022) criticism in four ways. First: we need some context for the debate that occurred in the pages of the Social Epistemology Review and Reply Collective that so concerns Hill. Second: getting precise with our terminology (and not working with stereotypes) is the only theoretically fruitful way to approach the problem of conspiracy theories. Third: I address Hill’s claim there is no evidence George W. Bush or Tony Blair accused their critics, during the build-up (...) the invasion of Iraq in 2003ACE, as being “conspiracy theorists.” Fourth (and finally): I will gently suggest that Hill has succumbed to a stereotypical view of work in Philosophy on conspiracy theories. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:J. H. Hexter 1910–1996Donald R. KelleyJ. H. Hexter, one of the leading intellectual historians of this century and a close associate of this Journal, died on 8 December 1996. Jack Hexter was a great scholar, talented writer and polemicist, devoted baseball fan, and authentic American humorist, who made wit and facetiousness part of his historiographical tool-kit. He was also an American character, as he made insistently clear in his (...) writings, especially his autobiographical account, “By Any Other Name,” which explained (among other things) why he came to be called “Jack,” why he resisted advice to change it, and other onomastic adventures.Jack taught at Queens College (N.Y., not, he pointed out, the one in South Carolina), 1939–57; Washington University (St. Louis, not Seattle or George Washington U.), 1957–64 and again 1978–86; and Yale University (one did not have to add, “New Haven”) 1965–85, where he was Director of the Center for Parliamentary History. At Washington University he was founding Director of the Center for the History of Freedom, which was devoted to a collaborative, multi-volume study of the history of liberty in the West that would realize the dream that Lord Acton called his “madonna of the future”—the difference being that Jack’s vision is already on the way to fulfillment, with the publication of the volume edited by him on Parliament and Liberty from the Reign of Elizabeth to the English Civil War (1992), followed by seven more volumes up to 1996, with more to come.Hexter published books and articles in a variety of fields, finding notoriety especially in his essay of 1958, “Storm over the Gentry,” and later in public jousts with Christopher Hill and others and more retrospective censures of (among others) A. W. Pollard and R. H. Tawney; and he was a master of the Macaulayan art of the review-essay (collected in On Historians, 1979). His article on “Braudel and le monde braudelien” was a mischievous masterpiece of satire which, according to a private communication to Jack, Braudel himself enjoyed in his Olympian way, including the good-natured charge of excessive appetite for facts—“Je vais me dire: ne joue pas trop au Rabelais, sois sage, ne mange pas tout, n’aie les yeux plus gros que le ventre!” (personal letter, 8 February 1973). Several generations of graduate students learned what was involved in doing history from his “The Historian and his Day” (1954), which (like “Storm”), he enjoyed recalling, was rejected by the AHR. He was amused, too, at learning that his article on “The Rhetoric of History” (written for the International Encyclopedia of the Social Sciences) was a harbinger of the rhetorical turn taken a few years later signalled by the historiographical work of Hayden White and others. He was a pioneer, too, in the intensive study of political languages (Visions of Politics on the Eve of the Reformation, 1973), though he lamented the fact that his work on Machiavelli’s and Seyssel’s political vocabulary had to be carried out before the age of computer technology.My first contact with Jack came through my mentor Garrett Mattingly, who was the contemporary historian Jack “most admired” (as he made plain in his contribution to Mattingly’s festschrift). In 1962 Mattingly told me that the plan to publish Hexter’s translation of Seyssel’s Monarchy of France for the Columbia Records Series had to be abandoned because of the first (I think) of Jack’s several heart attacks. I was able to use the mimeographed version for some years before Jack asked me to take over this project, originally visited on him by C. H. McIlwain. It was his suggestion that [End Page 349] we dedicate the collaborative volume, with nice ambiguity, to both McIlwain and Mattingly (who had also been a student of McIlwain) from “two of their deeply devoted students.”In this brief and perhaps overpersonal note (though nothing could be “too personal” for Jack) I will not add further to the store of Hexterian anecdotes, which I began collecting at Queens College, where Jack had already left the makings of a legend in the 1950s. I would just add... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Remembering Lewis E. HahnGeorge C. H. Sun, President, John Howie, Professor Emeritus, Thomas Alexander, Professor and Director of Graduate Studies, Kenneth W. Stikkers, Professor and Chair, Randall Auxier, Professor, Robert Hahn, Professor, Joseph Wu, Professor Emeritus, Elizabeth R. Eames, Professor Emeritus, Martin Lu, Professor of Philosophy, George Kimball Plochmann, Professor Emeritus, Matt Sronkoski, Philosophy Graduate and Academic Adviser, Dave Clarke, Professor Emeritus, Eugenie Gatens-Robinson, Professor Emerita, Hans H. Rudnick, (...) Professor Emeritus, Stephen Bickham, Professor EmeritusPresident, and Don Mikula (bio)The following testimonials were offered on the occasion of a memorial gathering for Dr. Lewis E. Hahn held on February 19, 2005, and were compiled for presentation here by Sharon (Hahn) Crowell.A Tribute to Dr. Lewis E. Hahn (1908-2004) from a Global PerspectiveGeorge C. H. Sun President, Thomé H. Fang Institute, Inc., Mobile, AlabamaAmong the philosophical community in both the East and the West, no word of introduction is needed for our beloved Master, who was the recipient of numerous distinctions and honors, with titles that included "Man of the Year in Philosophy" and "Award of Lifetime Achievement." The very name "Lewis E. Hahn" itself already stands now for genuineness, dedication, and fulfillment.A great work is a dialogue with eternity; a great person is such a work. In less than thirty years he succeeded in developing Carbondale from what had been a small college town in the Midwest into the Mecca of American philosophy. His most important achievements were the Dewey Center and the Pepper Archives that he helped install at SIUC These, among other such institutions, will remain a unique contribution, a glory of American philosophy, and a monument in the history of human thought.For posterity Lewis E. Hahn will remain an object of wonder and amazement. How is it possible for one human being to have accomplished so much, so well, and in so short a span of time—less than one century—in breadth, depth, and diversity? Some one hundred years ago, by bridging the gap between the New World and the Old, William James was hailed as the great genius of international friendship among philosophical thinkers, but we now find a greater genius in Lewis E. Hahn, who succeeded in bringing together the peoples of East and West from at least four continents: Europe, Australia, America (both North and Latin America), and Asia. To my knowledge, few of his predecessors and contemporaries have been half so widely read and liberal-minded as he was, in view of the range and scope of the Library of Living Philosophers that he helped continue after the passing of its founder, Dr. Paul A. Schilpp.What type of man was Hahn, our younger generation will wonder? Only a pluralist approach can help us understand the true character of such a legendary pluralist-contextualist. In short, he was "a full personality." As I recall, while working on my dissertation with him in the 1970s, we had a brief discussion on Confucius, the sage of ancient China. "A full personality!" was his laconic assessment. Suddenly I realized, to quote the Analects: "The Master is talking about himself!" For, as the Buddhists put it, only a Buddha can understand a Buddha. Or, as William James put it, only one who has philosophy can appreciate philosophy. Many friends [End Page 1] of my generation admire him so much; Te Chen of Hong Kong calls him "a great Confucian in America." Those who regret the loss of many precious Confucian virtues in China today have now rediscovered them in the person of Lewis E. Hahn! If Nietzsche called Kant "a great Chinese in Königsberg," it is simply because he had not encountered our own Master.A paradigm of academic leadership, Dr. Hahn is simply irreplaceable—this is a tribute I personally heard in Carbondale in the late 1960s. It is not an exaggeration to say that he was a superb administrator, and he could have been the best Secretary of the State we ever had, for he possessed more in the way of philosophical wisdom than all his predecessors put together! As a great teacher, he was no less "serene, good, learned, wise, and ardent" than... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 153-156 [Access article in PDF] JHI 2000 Donald R. Kelley It was just sixty years ago that this Journal first made its appearance. Two hundred thirty-nine issues later it continues in a world transformed by war, overpopulation, cultural shocks, scientific and technological transformations, globalization, the avalanche of information produced by electronic exchange, and "the acceleration of just about everything." Yet despite (...) these factors and the strains of postmodernism and cultural alterity, 1 it has not entirely lost touch with its intellectual innocence, faith in humanistic learning, and reliance on enlightened reason. This continuity itself may seem something of a novelty in an age of distrust of history and "rage against reason," but for some of us it reflects the critical spirit and intellectual context out of which such ostensibly subversive attitudes emerge, and reemerge. To some extent, moreover, the diversity of opinions about intellectual traditions is the result of specializations, and special interests, which have changed the climate of opinion since the time of Arthur O. Lovejoy, principal founder of the JHI. Lovejoy's vision was super- as well as inter-disciplinary; that is, he intended to include in the agenda of "history of ideas" particular areas of history of philosophy, literature, art, science, social science, etc., as well as the larger intellectual and cultural areas into which these disciplinary histories extend. 2 These days, however, all these disciplinary traditions have their own more specialized journals and do not need to seek a vehicle in publications of more general interest. What remains then, for the most part, is the interdisciplinary arena in which larger questions of human experience should be posed--and for Lovejoy, as for so many epigones and critics, the main "larger question" is not only one of value but also of specifically historical inquiry. 3 [End Page 153]The first issue of the JHI appeared under the editorship of Lovejoy (with Philip Wiener, who did most of the editorial work, as "managing editor"), assisted by a committee that included two historians, three philosophers, four literary scholars, and one political theorist; namely, Crane Brinton, Gilbert Chinard, Morris Cohen, Francis Coker, Richard McKeon, Perry Miller, Marjory Nicolson, J. H. Randall, J. Salwyn Schapiro, and Louis Wright. The first volume featured contributions from each of these, including Wiener, except for Miller (vol. 2), Shapiro (vol. 3), McKeon (vol. 8), and Coker. 4 During the first five years there were also reviews of books by Dilthey (by Horace L. Friess), Croce (Schapiro), Mannheim (Randall), Perry Miller (Herbert W. Schneider), Van Wyck Brooks (Miller) and Alfred Kazin (F. O. Matthiessen). In this period the disciplinary distribution of articles was not markedly different from that of the past five years, nor was the ranking of fields by number of submissions. 5 Most important, the original interdisciplinary thrust of Lovejoy's agenda, if not his attachment to the spiritualist currency of "unit-ideas," has survived growing specialization.At first the history of ideas was pursued largely in the shadow of the history of philosophy; for in this field, according to Lovejoy, "is to be found the common seed-plot, the locus of initial manifestation in writing, of the greater number of the more fundamental and pervasive ideas, and especially of the ruling preconceptions, which manifest themselves in other regions of intellectual history." 6 Lovejoy's concern was always with concepts, especially "-isms," and yet in some ways he anticipated the "linguistic turn" of the later years of this century, pointing out in particular "the role of semantic shifts, ambiguities, and confusions, in the history of thought and taste," for "nearly all of the great catchwords have been equivocal--or rather, multivocal." 7 If ideas could be given stable definitions, they were nonetheless often, in the context of language, in conflict, even in the mind of a single thinker; for such was the "anomaly of knowledge." 8 So Lovejoy was at pains to distinguish the various meanings of [End Page 154] catch-words like "nature," "perfectibility," "romanticism," "progress," and "pragmatism," not to mention more inflammatory terms of wartime ideological debate.But... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.2 (2003) 309-313 [Access article in PDF] Niall W. Slater. Spectator Politics: Metatheatre and Performance in Aristophanes. Philadelphia: University of Pennsylvania Press, 2002. x + 363 pp. Cloth, $59.95. In this close reading of all but three of Aristophanes' surviving plays, Niall Slater demonstrates considerable theatrical sensitivity. He all but stages the comedies for us, and in doing so he shows how Aristophanes stakes a (...) claim for the power of comedy to educate its audience.In two introductory chapters, Slater establishes the terms and contexts of his arguments. "The Naming of Parts" begins with the history of the concept "metatheatre," which includes a fine account of the problem of "illusion." Slater understands illusion as a contract negotiated—and in Aristophanes constantly renegotiated—between the actors and the audience. Metatheatre acknowledges the negotiation, the process of the play. "Aristophanic comedy knows and names [End Page 309] itself" (1). Slater sets out to show that Aristophanes uses metatheatre not just as one of many comic devices, but also as a technique to provoke Athenians into thinking about performance. Metatheatre, he says, "invites our contemplation not only of the qualitybut the goalsof theatrical performance" (7). The remainder of the chapter looks at the metatheatre possible or even inherent in the many aspects of the plays (e.g., musical form or costumes and props). The account is a welcome survey, and it reminds us to be open to finding metatheatre in moments less obvious than a parabasis. In his second chapter, "The Emergence of the Actor," Slater argues that only after the actor becomes conceptually separate from the play, which happened by the 440s and the institution of the acting prize, can an audience understand an actor's performance asa performance and react to it on a metatheatrical level. Slater recounts much of what we know about the shift from poet-actors to professional actors and focuses on comedy and how it makes fun not just of tragedy, but also of tragic actors. By doing so, comedy "created an observational point outside the tragic system of representation from which to recognize and observe analogues to tragic acting in the construction of other kinds of cultural performances" (32). He looks forward here to the arguments he will make about Aristophanes teaching his audiences to critique political performances, but I wonder if locating the "observational point" might not be as simple as showing that acting is recognizable as its own performance and that performance is something to be judged (both of which the existence of the acting prize proves) without making tragicacting the only way to observe other kinds of performance? Although Slater does not need to set up the rest of the book so elaborately, the chapter includes intriguing ideas about the effect of the emergence of the actor on the theater.He concludes the introductory chapters by explaining that he has chosen to examine in detail the eight of the surviving comedies in which metatheatre makes a difference and contributes to debates about democratic Athens. He begins with the admirable reminder that modern theater analogies are likely to mislead about Athenian comedy in the context of radical Athenian democracy. In his accounts of the plays, Slater first considers the theatrical space within a play and then gives a second look at the relationship of that theatrical space to other public spaces. What he finds in Acharniansis a theatrical space nearly congruent with the political space of the assembly—the only other occasion for the whole citizenry to sit together and judge—but Dicaeopolis cannot control that space, and so he creates his own space with his peace treaties. Slater clearly delineates the separate spaces Dicaeopolis brings together and the metatheatrical effect of his doing so, i.e., to show that all are performance spaces. The main claim of the parabasis is that Aristophanes has taught the city to see through deceptive speeches, and the parody of Euripides can teach spectators to see the process of role-playing and thus see through the deceptions of demagogues and... (shrink)

With the publication of this volume from the prolific pen of one of Germany's outstanding younger philosophers, the German-speaking scholarly world has a more extensive survey of key issues in the philosophy of science than the English-speaking world. The book is the first of a comprehensive work whose title is "Problems and Results in the Philosophy of Science and Analytic Philosophy." While the title of the book under consideration shows that it is primarily concerned with scientific explanation and justification, Stegmüller (...) not merely undertakes to acquaint his readers with the most important Anglo-American developments concerning these topics, but also independently develops his own ideas with respect to them and an important, if brief, feature of the volume is an appendix in which he sets forth over thirty "problems that are either unsolved or the solution of which is controversial." Without going into substantival detail, perhaps the quickest way to indicate Stegmüller's main concerns and general orientation is to note the extent of the page references in the index of names where, in descending order, one finds the names of Carl G. Hempel, to whom the volume is dedicated, R. Carnap, N. Goodman, N. Rescher, W. V. Quine, P. Oppenheim, E. Nagel, W. Dray and K. Popper. Curiously, Stegmüller indicates that, aside from Hempel, the man who has exercised the greatest influence on him has been Sir Karl Popper, but then he limits his consideration of him mainly to Popper's early exposition of explanation by reference to the breaking of a thread, while ignoring what he has to say about such topics as falsification, induction, and the problem of demarcation. Under these circumstances it is not surprising that there are no references to P. Duhem, J. Agassi, and P. Feyerabend, but there are also none to G. Bergmann, M. Bunge, P. Frank, N. R. Hanson, A. Koyré, V. Kraft, G. Radnitzky, and J. J. C. Smart, to mention just a few.--R. F. M. (shrink)

The following notes refer constantly to E. R. Dodds' Bacchae , which forms a valuable basis for study of the play; the passages discussed are those where I find myself in disagreement with Dodds' notes or with some new conjecture to offer, but everywhere my debt to the material he has assembled is very great. Recently W. S. Barrett's Hippolytos has illuminated a number of dark corners, providing a wealth of Euripidean parallels, metrical and linguistic; not least valuable is the (...) light it throws on the variants of a better-transmitted play, and on the ancestry of our texts. I am grateful to my colleague J. W. Roberts for help and encouragement with the first draft of these notes. Subsequently Professor D. L. Page was kind enough to read parts of my manuscript, clarifying a number of metrical problems for me and adding several invaluable suggestions. Both he and Professor K. J. Dover have saved me from many errors; for those that remain the blame is mine alone. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Treatise of the Three Impostors and the Problem of Enlightenment: A New Translation of the Traité des trois Imposteurs by Abraham AndersonJan W. WojcikAbraham Anderson. The Treatise of the Three Impostors and the Problem of Enlightenment: A New Translation of the Traité des trois Imposteurs. Lanham, MD: Rowman & Littlefield Publishers, 1997. Pp. xiv + 165. Cloth, $52.50. Paper, $21.95.This work results from a seminar, organized by (...) Richard H. Popkin, sponsored by the Foundation for Intellectual History, and held in Leiden in 1990, in which various [End Page 368] aspects of the history and significance of the Traité de trois Imposteurs were studied. As the title of the work indicates, it contains an English translation of the Traité. It also contains three short essays of commentary (the second of which is a modified version of Anderson’s contribution to the volume of essays which resulted from the Leiden seminar, Heterodoxy, Spinozism and Free Thought in Early Eighteenth Century Europe: Studies on the Traité des trois Imposteurs, edited by S. Berti, F. Charles-Daubert, and R. H. Popkin). There is a select bibliography, but no index.The Treatise consists of a critique of revelation (which is exposed as a fiction of the imagination), along with a discussion of the ways in which claims to revelation made by crafty politicians have enslaved humankind. It also includes scurrilous stories about three of the main alleged impostors: Moses, Jesus, and Mohammed, as well as a more philosophical discussion of God, the soul, and demons.The translation is of Pierre Rétat’s 1973 edition of the 1777 edition of the Traité. This edition was chosen out of a number of virtually identical editions because it is accompanied by three very brief documents related to the Treatise (“Sentiments Concerning the Treatise of the Three Impostors: Extract of a Letter or Dissertation of Mr. de La Monnoye on this Subject,” a “Response to the Dissertation of Mr. de La Monnoye,” and a “Copy of Article IX of the Second Part of the First Volume of the Mémoires de Littérature”). Anderson’s reasons for selecting this edition are sound. The accompanying documents are of interest in their own right; in addition, they are the focus of Anderson’s essays of commentary and are (as he claims) necessary for a proper understanding of the significance of the Treatise. Although earlier English translations exist (1844, reprinted 1846, reprinted 1904) they are either not readily available or are not reliable in that the manuscript original is not readily identifiable. Hence Anderson’s translation is a welcome addition to the literature for those (both specialists and nonspecialists) whose circumstances do not permit a study of the 1777 French edition.The first two essays of commentary concern political issues, as indicated by their inclusion in “Part I: The Politics of the Traité des trois Imposteurs.” In the first, entitled “On a Section of Prosper Marchand’s Private Catalogue,” Anderson refutes the claim made by Margaret C. Jacob in The Radical Enlightenment that a section of Prosper Marchand’s library catalogue shows that Marchand considered the Traité to be in the tradition of Protestant radicalism and republicanism. After a careful analysis of the works listed in this section of the catalogue, Anderson concludes that (with one exception) the books in this section constitute a bibliography of works that “either exemplify the uses of literary study for the defense of orthodoxy or belong to a literary tradition of the cynical study of those uses, or consist in a parody and public exposure of that cynical study” (81). In the second essay, “Sallengre, La Monnoye, and the Traité des trois Imposteurs,” Anderson argues that rather than being a work of radical propaganda, the Traité was part of a satirical campaign against the “conformist libertine intelligentia” (x) of Louis XIV—those who believed that the fact of imposture ought not become public knowledge because they believed that religion ought to serve to enforce the rights of monarchy.“Part 2: Philosophy in the Traité des trois Imposteurs” consists of a single essay, “Descartes the Impostor, Bayle, and the Hidden Origins of Enlightenment.” Here, Anderson explores puzzling aspects of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Insurrectionist Ethics: Radical Perspectives on Social Justice ed. by Jacoby Adeshei Carter and Daryl ScrivenDuncan R. CordryEdited by Jacoby Adeshei Carter and Daryl Scriven Insurrectionist Ethics: Radical Perspectives on Social Justice Palgrave Macmillan, 2023, 295 pp.In the collected volume Insurrectionist Ethics, edited by Jacoby Adeshei Carter and Daryl Scriven, contributors engage in discussion over the ethics of revolt. Faced with the systemic persistence of immiseration, and given normative (...) morality's complicity in sustaining such systems of domination, what ethical and practical recourse do the oppressed have to liberate themselves? This is a question which runs throughout the book and motivates the problem of an 'insurrectionist ethics,' as coined by Leonard Harris: a field of ethics which takes up a position, as he writes in the foreword, "that is in, starts from, and sojourns to a different place" (p. xiii). It is a re-imagining of the ethical which departs from romanticized notions of agency and reason, often in ways that favor descriptions over normative or explanatory principles. This shift gives it a high degree of flexibility with respect to its approach, which nevertheless remains guided by a common "insurrectionist sentiment" that lends consistency to the works of the text's contributors: they all "favor the abolition of what creates non-being, living death and necro-being" (p. xi). The book is split into a total of five topical sections, each of which discusses a different facet of insurrectionist ethics: its conceptions and context, its ties to liberation theory throughout the Americas, applications and correctives for its theory, its relation to pragmatism, and its future. Bookending contributions from the editors unpack the meaning and definition of an insurrectionist ethics.In this review, I survey several chapters of the volume by discussing Scriven's and Carter's definitions and examining a few ways in which these definitions produce tensions in a few selected contributions. Doing so will highlight some important differences between [End Page 110] the authors' approaches to insurrectionist ethics while underscoring the consistency which commits them to abolition; ultimately, Insurrectionist Ethics is as much an invitation as it is an introduction to the tradition it espouses.Scriven's introductory chapter, "The Very Idea of Insurrectionist Ethics," exposes an insurrectionist ethic within the thought of David Walker, while Carter's conclusive essay, "Death by a Thousand Cuts: Insurrectionist Ethics in a Present less Oppressive than the Past," attempts to pin down a definition by analyzing its essential elements. Their difference in approach is not insignificant. What is revealed through Scriven's angle, for example, is that insurrectionist ethics is indeed a tradition—to work through the meaning of such an ethics is to lend historical weight to the lives of past and present insurrectionists and to declare solidarity with their actions at the level of valuation. A number of such figures circulate throughout the volume, including David Walker, Maria W. Stewart, Alain L. Locke, Ida B. Wells-Barnett, Tommy Curry, and Leonard Harris. With the exception of the latter-most, none of these figures make direct contributions to the collection (although their spirits animate it). Its status as a tradition means that insurrectionist ethics is not limited to the confines of this volume, itself more knot than archive: such a tradition reaches well beyond the text and invites its readers to extend its concepts and debates in all directions. It has not one past but several, and not one future but many.Furthermore, Scriven's essay points out that insurrectionist ethics is not simply an indictment of corrupt institutions on the basis of some moral framework or other—it is foremost an outright rejection of the alliance between customary morality and systems of oppression; it searches for an ethos that condones direct action against such systems, operating at a philosophical level to produce conceptual and theoretical weaponry that "incite resistance and demands action" (p. xiv). Yet, as the form of the volume itself demonstrates, the arguments and methods of reasoning deployed by insurrectionists (past and present) to condone such actions has tended to vary, sometimes drastically. Nonetheless, the multiplicity which properly belongs to this tradition—a point explored further in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bonhoeffer and King: Their Legacies and Import for Christian Social ThoughtCharles W. ChristianBonhoeffer and King: Their Legacies and Import for Christian Social Thought Edited by Willis Jenkins and Jennifer M. McBride Minneapolis: Fortress Press, 2010. 304 pp. $25.00Countless books have been written about Dietrich Bonhoeffer and Martin Luther King Jr., assessing their individual leadership in the areas of social justice and theology in the twentieth century. Relatively few (...) works have brought these two individuals together in comparative analysis. This book, edited by Willis [End Page 216] Jenkins (assistant professor of social ethics at Yale Divinity School) and Jennifer M. McBride (visiting lecturer at Candler Divinity School), seeks to do that; it brings together a wide array of scholars in the fields of ethics, theology, pastoral ministry, political theory, African American studies, and feminist theology.As McBride points out in her introduction, the “significant differences in their historic, sociopolitical contexts” can present challenges in comparing the work of these two men and in seeking to contemporize them (8). However, the thought and life of both martyrs “demand[s] action”; in other words, the “thought” of both Bonhoeffer and King remains incomplete without “courageous, constructive, redemptive social engagement” (3). It is in this spirit that the book unfolds.The book is divided into four parts. The first four chapters compose part 1 (titled “Critical Distance”), which takes a broader look at the legacies, key concepts, and limitations or critiques of the thought of Bonhoeffer and King. For example, the second chapter by Stephen R. Haynes (“King and Bonhoeffer as Protestant Saints”) reminds us of the perils of the larger-than-life legacies of both these individuals. When noteworthy persons become personalities or cultural heroes, key aspects of their legacies can be minimized or overlooked. This is particularly important in contemporary American settings where politicians and commentators tend to reduce the legacies of both Bonhoeffer and King to fit their own political agendas.Part 2 pays specific attention to the influence of Bonhoeffer and King on matters related to social justice, such as poverty, racism, and violence. Among the notable contributions in this section is the chapter by Craig J. Slane that deals with the “unexpected turn toward violence” (112) for Bonhoeffer during his involvement in the plot to assassinate Hitler during World War II. Part 3 looks at the ways in which the lives and teaching (and especially preaching, in King’s life in particular) of Bonhoeffer and King are instruments of social redemption. In addition to noting the influence of Niebuhr’s emphasis on social sin and social redemption on King’s preaching and leadership, it points out that both Bonhoeffer and King were deeply influenced by the economic and social upheavals of their time; their preaching, teaching, and writing sought to address, in concrete ways, the racial, economic, and political realities of their contexts. In part 4, “Peacemaking,” four authors highlight the contributions King and Bonhoeffer have made to peacemaking and the influence these contributions continue to have. They discuss both men’s commitment to nonviolence and pacifism and the particular challenges this commitment created for them (especially for Bonhoeffer, given his participation in a plot to overthrow Hitler).The essays in this book do not present these two martyrs as unblemished. The book contains rich discussions that honestly assess their personal struggles [End Page 217] of conscience as well as their contextual struggles with such issues as the role of women. Furthermore, the reader will find a solid introduction to the lives and thought of both men while at the same time sitting in on a diverse conversation about how their influential interpretations of the Christian faith can continue to be fleshed out. May this kind of conversation (and action) continue!Charles W. ChristianMount Vernon Nazarene UniversityCopyright © 2012 The Society of Christian Ethics... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:98 HISTORY OF PHILOSOPHY quoted in great numbers. The other is Kern's philosophical competence and his skill in handling complex problems. The book is divided into two parts. Part I gives the reader a brief historical survey of Husserl's changing attitudes toward Kant and the neo-Kantians (especially Natorp and ttickert). Indicating the influences which shaped Husserl's thinking during the years of his studies at the universities of Berlin and (...) Vienna, Kern traces Husserl's development throughout his career as a thinker and a writer. But this survey (pp. 1-50) provides merely the general framework within which the intensive and detailed analyses of Part II (pp. 51-424) must be viewed. Two appendices, an extensive bibliography, and a name index complete the work. The detailed discussions of Part II are, of course, the really important contributions to our understanding of Husserl's relation to Kant and the Kantians. As was to be expected, Husserl found in Kant's works formulations of problems and profound insights that he regarded as crucial to any philosophy. At times, however, Husserl was sure that because of mistaken assumptions, insufficiently clarified presuppositions, and methodological deficiencies Kant himself had not fully realized his intentions. Still, it is evident that, in time, Husserl found himself increasingly in sympathy with Kant's postion. In fact, in the end he used Kant's term "transcendental idealism" to designate his own philosophy. In the course of this development, however, Husserl's thinking underwent various changes and reversals. The detailed analyses of them make fascinating reading and are most revelatory of Husserl's own struggles with obtrnsive problems. In Chapter z of Part II (pp. 55-134), the author discusses Husserl's criticism of Kant's positionwKant's conception of the apriori, his strict separation of "sensibility" and "understanding," his presupposition of a "natural world view," his failure to ask sufficiently radical questions concerning the foundations of knowledge, his lack of a proper method of analysis, and his "psychologism." In the course of his own development, however, Husserl modified and, in some respects, even reversed his criticisms of Kant. Chapters ~, m, re and v of Part II, dealing with problems of formal and transcendental logic, with the possibihty of metaphysics on Kantian principles, and with the complex problems of subjectivity, bear witness to the fact that Huseerl often changed his opinion of Kant's work. Of special interest, however, is Chapter vz. It is devoted to a comparison of Husserl's and Kant's "transcendental idealism" and reveals most strikingly the similarities of the two positions. The chapter dealing with Husserl's relation to l~atorp and Rickert, interesting in its own way, is essentially only a footnote, as it were, to the rest of the hook; but it completes the survey. As I said before, this book gives us not only a remarkable insight into the various phases of development in Husserl's thinking and is therefore indispensable to a real understanding of Husserl's intentions and achievements; it also lets us see Kant's philosophy in a new and revealing perspective--both as to its value and it deficiencies. Only a detailed study can do justice to this book. W. H. WF~mMF~STZR Florida State University Ludwig Wittgenstein. Zettel. Edited by G. E. M. Anscombe and G. H. von Wright. Translated by G. E. M. Anscombe. (University of California Press and Basil Blackwell, 1967. Pp. v + 124 [German and English on facing pages]. $6.95.) The paragraphs in this volume, the editors tell us, were collected in a box-file by Wittgenstein from a period beginning in 1929,though the bulk of them come from typescripts dictated between 1945 and 1948. The editors credit Peter Geach with the major work of arrangement. Whoever is responsible did a superlative job, a remark that holds as well for Miss Anscombe's translation. The editors and Mr. Geach have performed an invaluable service to those interested BOOK REVIEWS 99 in Wittgenstein and--quite apart from Wittgensteinian exegesis--in the problems treated in these pages. The philosophical topics are those of the Investigations (PI) and The Remarks on the Foundations o] Mathematir~ (RFM)---e.g., the attack on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Elvira Panaiotidi, “The Nature of Paradigms and Paradigm Shifts in Music Education”Wenyi W. KurkulAt the beginning, I would like to congratulate Elvira Panaiotidi on her interesting paper and on her proposal to move beyond the long-running debates that began in the mid-1990s between Bennett Reimer and David Elliott and their respective supporters. I also applaud her affirmation that, beyond the numerous debates within the music-education philosophy community, (...) the ultimate goal is to put the theories to work in schools or, in other words, to convert theories into operative paradigms.Echoing her affirmation, I shared her article with a class of my graduate students after I received the invitation to respond to this paper. All of my graduate students are current schoolteachers in the greater Washington, DC metropolitan area in the United States. Some of them are young teachers; others have decades [End Page 114] of teaching experience. As a university professor, I have always been thrilled by how much my thoughts are inspired by my students—by their stories, writing, discussions, dialogues, and sometimes very challenging questions in class. Their concern for their daily jobs and their students constantly remind me of our responsibilities to the children in the schools. However, with our schools and students in mind, I have to ask the music education philosophy community a question: Is "producing a unified concept of music," or "searching for a unified approach," or even aiming to "develop a unified approach in music education" as proposed by Panaiotidi what we truly need?In her paper, Panaiotidi discusses the debate over the approaches in music education by Reimer and Elliott in the context of paradigm shifts. The term, "paradigm shift," was introduced by Thomas Kuhn in 1962 in his highly influential book, The Structure of Scientific Revolutions. Kuhn proposes that almost every significant break-through in the field of scientific endeavor is first a break with tradition, with old ways of thinking, with old paradigms. For example, until the germ theory was developed, there was a high percentage of deaths during childbirth and scientists were not sure why. Likewise, in military settings, more people were dying from small wounds and diseases than from the major traumas experienced on the frontlines. But as soon as the germ theory was developed, a whole new paradigm—a better, improved way of understanding what was happening—made dramatic and significant improvements in the practice of medicine possible.The United States today is the setting for another fruitful and powerful example of a dramatic paradigm shift. The traditional concept of government had been monarchical, based on the divine right of kings. It was not until centuries later that a significant break-through paradigm was developed: government of the people, by the people, and for the people. A constitutional democracy was born that unleashed tremendous human energy and ingenuity. This new paradigm, over time, generated personal empowerment, free enterprise, a higher standard of living, freedom and liberty, and influence and hope unequaled in the history of the world.Stephen R. Covey, the author of a popular book in the late 1980s, The Seven Habits of Highly Effective People, cites Kuhn's conception of paradigm shift to illustrate his own ideas. He describes an experiment at the Harvard Business School in which an instructor passed out a picture of a young woman to half of the class and a picture of an old woman to the other half. The students were asked to look briefly at the picture and pass it back. The professor then asked the class to describe the woman as he projected on a screen a picture of a woman that was a combined image of the "old" and "young" women. Needless to say, the students debated the age of the woman. If they had seen the "young" version, [End Page 115] they could see only a young woman now, and vice-versa. Each student was adamant about his or her position. They did not see the image in another way until the lines were pointed out to demonstrate the features of the old and young woman. Covey cites this exercise to prove the powerful conditioning effects of one... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Strands of System: The Philosophy of Charles PeirceRobert W. BurchStrands of System: The Philosophy of Charles Peirce, by Douglas R. Anderson; xiv & 204pp. West Layfayette, Indiana: Purdue University Press, 1995, $24.95 cloth, $13.95 paper.The Purdue University Press Series in the History of Philosophy was created to “present well-edited basic texts to be used in courses and seminars and for teachers looking for a succinct exposition of the (...) results of recent research.” Anderson’s contribution to this series matches the aim of the series to near perfection.Strands of System is a general introduction to both the life and the work of the American scientist-mathematician-philosopher Charles S. Peirce. Many, though by no means all, of the main themes of Peirce’s philosophy are touched. Anderson’s exposition is succinct and—usually—at a basic, introductory level; virtually no specialist knowledge of Peirce’s thinking is required to follow it. References to recent research on Peirce are ample and up-to-date. Anderson’s account falls well within the mainstream of current understanding of Peirce, and accordingly it should occasion no distasteful surprises for the teacher who desires a solid introductory survey.Besides a preface and appendices, the book contains four chapters. The first is a biographical sketch; the second is an overview of certain themes in Peirce’s philosophy; the third is the full text of and a commentary upon the rather early essay “The Fixation of Belief”; and the fourth chapter is the full text of and a commentary upon the rather late essay “A Neglected Argument for the Existence of God.”Chapter Two, entitled “Strands of System,” is perhaps the heart of Anderson’s [End Page 384] exposition of what he regards as Peirce’s somewhat-less-than-monolithic philosophical system—a system in which, as Anderson sees it, a host of diverse themes start and stop, twist and turn, and cross and recross each other like the different strands making up a rope. A wide variety of Peircean topics are briefly discussed: the classification of the sciences, mathematics, philosophy, phenomenology, normative sciences, aesthetics, ethics, logic, and metaphysics. Most of the major concepts of Peircean thought are taken up: synechism, tychism, the categories of firstness and secondness and thirdness, the theory of signs, and some features of the notion of semeiosis.Despite its apparent thoroughness, Anderson’s book mostly lacks a presentation of the technical-scientific-mathematical-logical side of Peirce’s thought. In ignoring this side of Peirce’s intellectual endeavor, however, Anderson is not very different from most other contemporary discussants of Peirce; and the omission is perhaps justified in an introductory survey. All in all, Anderson’s volume should make an excellent, if somewhat partial, introduction to the thought of Peirce, an introduction that I can highly recommend for use in a first course or seminar in the thought of this extremely important American thinker.Robert W. BurchTexas A&M UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)

This anthology collects readings from important nineteenth and early twentieth century figures who contributed to the philosophy of science before that discipline emerged in the last 40 years as an area of study in its own right. It begins with a seldom-read selection by Kant ) and ends with a selection from Bridgman's The Logic of Modern Physics. Each selection is preceded by a three-page biography of the author together with a bibliography of his major writings and some writings (...) on his work. Many familiar names appear, e.g., Mill, Mach, Pearson, Hertz, Poincare, Peirce, Duhem, Russell, Whitehead, and Campbell. But there are others represented whose actual writings are not so familiar to many students of the philosophy of science, e.g., J. F. W. Herschel, William Whewell, Hermann Von Helmholtz, J. B. Stallo, Emile Boutroux and William Ostwald. With the exception of Stallo, the writings of these figures have been long out of print. In one case, a selection from Ludwig Boltzmann on the nature of mechanics, the editor has translated the selected passage into English expressly for this volume. A wide range of topics are considered in the readings: physical laws, theories, induction, observation, space, time, and others; but, as the nature of the case requires, the focus of attention is on classical science. For this reason most existing courses in the philosophy of science could use this collection only as a supplementary text. But it would function well in such a role. Moreover, specialized courses in the history of philosophical thinking about science will find it very useful.--R. H. K. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:To Shape a New World: Essays on the Political Philosophy of Martin Luther King, Jr. ed. by Tommie Shelby and Brandon M. TerryErin R. PinedaTommie Shelby and Brandon M. Terry, editors. To Shape a New World: Essays on the Political Philosophy of Martin Luther King, Jr. Cambridge, MA: Harvard University Press, 2020. Pp. 464. Paperback, $20.00.In the summer of 2020, as cities across the globe erupted in protest (...) after the murder of George Floyd, references to Martin Luther King, Jr. abounded: while a familiar cast of politicians evoked his memory to scold riotous protestors, others issued King's rejoinder that "the riot is the language of the unheard" (King, "The Other America," 1967). Many such invocations no doubt smacked of the "ritual celebration" and "intellectual marginalization" [End Page 339] that, as Tommie Shelby and Brandon M. Terry observe, have long marked King's reception as a political thinker (2). But in another sense, the seemingly inevitable return to King points to the significant stakes of taking his thought seriously and the political danger of laying claim to interpretive mastery. Struggles over King's legacy and the terms of his thought are not just about King but form part of the discursive terrain on which struggles over the demands of racial justice and the means of transformative collective action are waged.Shelby and Terry's ambitious, illuminating volume, To Shape a New World, first published in 2018 (timed to mark the fiftieth anniversary of King's assassination) and released as paperback in 2020 (amidst the George Floyd uprisings), invites us to take King seriously in just this sense: with an acute sensitivity to the stakes and an embrace of an interpretive pluralism that refuses the certainty of a singular, definitive reading. The collection facilitates rigorous engagement with King's thought in its own time and place but also presses the question of what we ought to do with it in this current "age of impunity and mendacity," standing amid the "unraveling" edges of "American empire," as Cornel West puts it (331). In posing and answering this question across its fifteen essays, the collection seeks to do justice to King as both a political philosopher and a political activist—a religious and political thinker whose philosophies were worked out not only behind the pulpit or within the academy, but also (and perhaps primarily) in concert with others on the field of political action. Indeed, one of its primary contributions is to challenge mainstream presumptions about what counts as political philosophy—its boundaries as a genre as well as the spaces where we imagine political philosophizing to happen and the figures we position as its primary producers.The volume is organized into four sections. The first, "Traditions," is devoted to exploring some of King's diverse intellectual influences. Here, the emphasis is less on making the case for particular traditions as the essential ones, and more on exploring the use of different interpretive lenses for shedding new light on his ideas. Three essays put King in context with thinkers he directly engaged: Robert Gooding-Williams places him in conversation with W. E. B. Du Bois and Booker T. Washington to reveal the structure of King's account of dignity amid the constraints of racial injustice; Bernard Boxill shows how King's theory of civil disobedience builds on—and collectivizes—Frederick Douglass's account of comparative freedom; and Karuna Mantena explores the theory of nonviolent action that King, through figures like Benjamin Mays and Howard Thurman, adopted and adapted from Gandhi. In contrast, Paul Taylor argues that we should read King in the company of moral perfectionists Stanley Cavell and Christopher Lebron—as showing us how practices of self-criticism, self-transformation, and experimentation enable "citizens to remain dissatisfied with things as they stand" while remaining "open to the possibility that justice will require reconstructing both society and the self" (41).In the next section, contributors turn their attention to King's "Ideals"—the ethical and political imperatives that shape the ends and means of the struggle for a new world. Like Mantena, Martha Nussbaum reads King alongside Gandhi to focus on King's insistence on channeling righteous... (shrink)

British Journal for the History of Philosophy, Volume 19, Issue 5, Page 1012-1015, September 2011.

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

Birds, beasts, and creeping things swarm throughout the Bible's pages. Despite their prevalence, most biblical scholars have viewed them merely as metaphors, passive objects, or background embellishment to the human experience. This collection seeks to move beyond this traditional view of biblical animals by engaging the growing interdisciplinary field of animal studies. Contributors Peter Joshua Atkins, Jared Beverly, William P. Brown, Margaret Cohen, Jacob R. Evers, Michael J. Gilmour, William "Chip" Gruen, Dong Hyeon Jeong, Brian Fiu Kolia, Anne Létourneau, Robert (...) R. MacKay, Suzanna R. Millar, Timothy J. Sandoval, Robert Paul Seesengood, Ken Stone, Brian James Tipton, Arthur W. Walker-Jones, and Jaime L. Waters showcase the breadth and depth of inquiry that animal studies can foster in biblical studies as well as what animal studies can gain from a more rigorous engagement with biblical texts. Together the essays offer an animal hermeneutic that supports the flourishing of all creatures. (shrink)

Owing to the illegibility of parts of the Fronto palimpsest and the carelessness of its first editor, Cardinal Mai, it was impossible, even after the critical labours of Niebuhr and his colleagues, to come to any satisfactory conclusion as to the chronology of the Letters. But the edition of S. A. Naber in 1867, which had the advantage of a fresh collation of the MS. by G. N. Du Rieu, further reinforced subsequently by a new examination of the Codex due (...) to W. Studemund, held out a better prospect of success. The labours of C. Brakman in the same direction, published in 1902, have also thrown fresh light upon the subject. Yet the critical world has long been awaiting the appearance of the authoritative recension by Professor E. Hauler of Vienna, who has spent infinite pains over a further, and what may well be a final, inspection of the Codex. A great desideratum, which it is much to be hoped that the new edition will supply, is an exact indication, as far as may be, of the extent of each lacuna in pages, lines, words, or letters. A knowledge of how much is lost in each case is essential for the true understanding of the sequence of thought and time in what remains. (shrink)