Finance programs around the world have been revising their curricula following the Global Financial Crisis (GFC). While much of the debate has centred on the dominance of scientific and quantitative pedagogical approaches to finance education in business schools, one of the most egregious aspects uncovered during the deleveraging of the financial system was the scale and scope of finance crime and financial fraud (including the Madoff scandal, described as the largest Ponzi scheme in history). This paper argues that those “on (...) the inside”, the professionals within the finance industry, have a central role to play in safeguarding the ethics and integrity of financial markets. It is our conjecture that prevention and earlier detection of finance crime and financial fraud may be addressed, in part, by better educating finance professionals about these issues. We posit that the enormity of illegal activity uncovered in the wake of the GFC demands, as a matter of priority, the integration of criminological and criminal justice theory into the finance curriculum. (shrink)

‘Tool of Empowerment’: The Rhetorical Vision of Title Nine This study of the mail order catalog Title Nine, a California-based women's athletic clothing company, employs symbolic convergence theory and fantasy theme analysis through the context of third wave feminism. The catalog, named after the federal law in the United States that was intended to equalize opportunities between men's and women's participation in sports, creates a distinct social reality in an effort to empower readers. Similar studies have analyzed stereotypical representations of (...) women in magazines and advertising. However, this study offers insight into a newly emerging phenomenon in a niche market, the mail-order catalog, and in the artifact under study, it offers a medium where creators intend to do more than sell women's clothing. Within fantasy theme analysis is the fantasy type, a moral or social more that repeats itself through various actors or settings within the artifact. Four fantasy types put forth by Title Nine have been identified by the researcher, including a.) "I am superwoman," b.) "I am a mom," c.) "I am an advocate for women," and d.) "I can be anything.". (shrink)

Methods Young healthy heterosexual couples underwent sleep-lab-based polysomnography of two sleeping arrangements: individual sleep and co-sleep. Individual and dyadic sleep parameters (i.e., synchronization of sleep stages) were collected. The latter were assessed using cross-recurrence quantification analysis. Additionally, subjective sleep quality, relationship characteristics, and chronotype were monitored. Data were analyzed comparing co-sleep vs. individual sleep. Interaction effects of the sleeping arrangement with gender, chronotype, or relationship characteristics were moreover tested. Results As compared to sleeping individually, co-sleeping was associated with about 10% (...) more REM sleep, less fragmented REM sleep (p = 0.008), longer undisturbed REM fragments (p = 0.0006), and more limb movements (p = 0.007). None of the other sleep stages was significantly altered. Social support interacted with sleeping arrangement in a way that individuals with suboptimal social support showed the biggest impact of the sleeping arrangement on REM sleep. Sleep architectures were more synchronized between partners during co-sleep (p = 0.005) even if wake phases were excluded (p = 0.022). Moreover, sleep architectures are significantly coupled across a lag of ± 5min. Depth of relationship represented an additional significant main effect regarding synchronization, reflecting a positive association between the two. Neither REM sleep nor synchronization was influenced by gender, chronotype, or other relationship characteristics. Conclusion Depending on the sleeping arrangement, couple's sleep architecture and synchronization show alterations that are modified by relationship characteristics. We discuss that these alterations could be part of a self-enhancing feedback loop of REM sleep and sociality and a mechanism through which sociality prevents mental illness. (shrink)

Martin Heidegger’s sustained reflection on Greek thought has been increasingly recognized as a decisive feature of his own philosophical development. At the same time, this important philosophical meeting has generated considerable controversy and disagreement concerning the radical originality of Heidegger’s view of the Greeks and their place in his groundbreaking thinking. In Heidegger and the Greeks, an international group of distinguished philosophers sheds light on the issues raised by Heidegger’s encounter and engagement with the Greeks. The careful and nuanced essays (...) brought together here shed light on how core philosophical concepts such as phenomenology, existentialism, hermeneutics, and ethics are understood today. For readers at all levels, this volume is an invitation to continue the important dialogue with Greek thinking that was started and stimulated by Heidegger. Contributors are Claudia Baracchi, Walter A. Brogan, Günter Figal, Gregory Fried, Francisco J. Gonzalez, Drew A. Hyland, John Panteleimon Manoussakis, William J. Richardson, John Sallis, Dennis J. Schmidt, and Peter Warnek. (shrink)

Elijah Fenton’s Phaon to Sappho has so far never been in the focus of literary criticism. The article aims at a more detailed understanding of Fenton’s technique of literary reception by means of a close reading of both Phaon to Sappho and Fenton’s model, the Ovidian Epistula Sapphus. As will be seen, Fenton offers an unexpected perspective on the ancient myth through the eyes of ‘his’ Phaon: Phaon did not leave Sappho out of faithlessness but was completely unable to entertain (...) any feelings of true love, because he had been cursed by Venus for being unfaithful to his former girl-friend in Malea. Phaon merely enjoyed Sappho’s gift of song as a temporary remedy for the agony within his cursed mind, but had to leave her whenever she stopped singing. At this point Phaon is asking for Sappho’s intercession with Venus on his behalf. Although Fenton makes crucial changes to the plot, he does neither ‘deconstruct’ nor ‘correct’ the myth as such: instead, he meticulously retains all the major motifs developed in Ovid’s epistle and thus achieves a literary transformation of the myth, enabling the reader to regard either perspective on the two protagonists’ relationship as logically possible. (shrink)

The guiding suggestion of this article is intimated in the title: “Platonism,” that set of “philosophical positions” supposedly present in the Platonic dialogues (pre-eminently the “theory of forms,” but also “Plato’s metaphysics,” his “epistemology,” his “moral theory,” his “political theory” etc.) are not so much discovered in the dialogues as they are invented out of a very specific (mis) reading of those dialogues. And the first great “misreader” was Aristotle, who, I argue, first made possible the set of assumptions about (...) philosophy and about philosophic writing that, in turn, made anything like “Platonism” possible. (shrink)

With an emphasis on self-study and the connections between the personal and the professional domain, the authors reflect upon their teaching practice on a postgraduate theatre-based course using the research methodology of a/r/tography. The aim was to develop understanding of teacher/student roles and how these can affect learning. Through researcher reflexivity, focus groups and questionnaires, data were captured from students/participants responding to a video of the researcher’s solo performance work. The research presents itself through three a/r/tographic renderings. First, the experience (...) of seeing tutors in unfamiliar roles is considered. Second, the impact of witnessing tutors taking risks as a performer and being vulnerable is discussed and, lastly, the work illuminates new ways of opening up as teachers. The authors explore how the student’s/participant’s perception of them as tutors seemed to change after witnessing them as artists and how this impacted upon student’s learning for their own assessed performance pieces. (shrink)

The publication of his Apologia pro Vita Sua (1864) brought Newman back into contact with many of his Anglican friends—two of whom gifted him with a violin. In his letter of appreciation, Newman mused: “Perhaps thought is music.” Such would seem to be the case with his poem, The Dream of Gerontius (1865), which was set to music by Sir Edward Elgar (1900). This essay explores the relationship between Newman’s Apologia and The Dream of Gerontius and then analyzes the latter’s (...) structure and content and compares it with other Christian classics. (shrink)

Este artigo mostra a recepção e a influência de Nietzsche no Uruguai durante os anos de 1890 a 1910. Para tal, o artigo se divide em três partes. Em primeiro lugar, se expõem as diferentes vias pelas quais se introduz Nietzsche, como chega? como era lido? quem o lia? A segunda parte investiga as traduções francesas e espanholas que chegaram ao Uruguai. E, por ultimo, se expõem as diferentes revistas culturais da época que abordaram Nietzsche.This paper shows the reception and (...) influence of Nietzsche in Uruguay during the years 1890 to 1910. For this purpose, the paper is divided into three parts. First of all, we present the different ways in which Nietzsche was introduced: how was Nietzsche read? Who read his work? The second part inquires the French and Spanish translations which arrived in Uruguay. Finally, we will display the different cultural magazines of that period which dealt with Nietzsche. (shrink)

For Newman the Roman Catholic, the Oratorian way of life resonated with his experience as a fellow of Oriel College, Oxford: the Oratory was a place of stability that provided an opportunity for scholarship. This article examines three aspects of the Oratorian idea of scholarship: the spiritual formation of the intellect; the role of the laity in a Catholic university; and the importance of personal influence inevangelization—educational ideals that are as fundamentally important today as they were in Newman’s time.

_The Arachnean and Other Texts _by Fernand Deligny is a collection of writings from the second half of the 1970s. In 1968 Deligny established a “network” for informally taking care of children with autism that was more than a mere site of living: it was a _milieu_ created out of a reflection on the _mode of being_ autistic. What is a space perceived outside of language? What is the form of a movement without perspective or goal? How do we engage (...) with a world that is not our own, a world turned upside down yet truly common, where _acting_ cohabitates with our actions and the _unknown_ with our forms of knowledge? Such is the mythical web of the “Arachnean,” made of lines, holes, traces, enigmas, and questions without answers that demand to see that which cannot be seen. Long before the digital age of social networks, meshworks, and digital webs, Fernand Deligny speaks to us in his own autobiographical and aphoristic manner. For Deligny, his life was always experienced in the form of “the network as a mode of being.”. (shrink)

A Special Issue of this journal, edited by Lynch et al., was published critiquing research in conversation analysis on epistemics and on oh. It would be more accurate to say that the articles in that Special Issue critique the work of Heritage on epistemics and oh. Their principal criticism is that Heritage’s analyses of epistemics and oh are cognitivist. Other criticisms are that his analysis of each of these phenomena is not sequential, that it does not attend to the details (...) of turn design, and that his analyses are not truly conversation analytic – indeed that he does not comprehend CA, that his analyses are false and unwarranted, that he has adopted an ‘informationist’ perspective of knowledge transfer, and that epistemics represents some ‘hidden order’ invisible at the surface of conversation. Underlying these criticisms is their contention that Heritage has not adhered to the ‘radical’ agenda of ethnomethodology which, they claim, underlies the origins of CA. In this Introduction, I outline some of the principal reasons for regarding the criticisms in The epistemics of Epistemics to be misguided, inaccurate and scurrilous. In doing so, I am setting out in very broad outline the arguments made by the contributors to this Special Issue rebutting those criticisms of Heritage’s work, and of CA more generally. (shrink)

Hypotheses regarding the selective pressures driving the threefold increase in the size of the hominid brain since Homo habilis include climatic conditions, ecological demands, and social competition. We provide a multivariate analysis that enables the simultaneous assessment of variables representing each of these potential selective forces. Data were collated for latitude, prevalence of harmful parasites, mean annual temperature, and variation in annual temperature for the location of 175 hominid crania dating from 1.9 million to 10 thousand years ago. We also (...) included a proxy for population density and two indexes of paleoclimatic variability for the time at which each cranium was discovered. Results revealed independent contributions of population density, variation in paleoclimate, and temperature variation to the prediction of change in hominid cranial capacity (CC). Although the effects of paleoclimatic variability and temperature variation provide support for climatic hypotheses, the proxy for population density predicted more unique variance in CC than all other variables. The pattern suggests multiple pressures drove hominid brain evolution and that the core selective force was social competition. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

While the ethical use of deception has been discussed in literature, the ethics and acceptability of nursing deception has yet to be studied. The current study examined nurses’ and nursing students’ ratings of the ethics and acceptability of nursing deception. We predicted that nurses and nursing students would rate a truthful vignette as more ethical than a deceptive vignette. We also predicted that participants would rate nursing deception as unethical and unacceptable. A mixed design was used to examine ethics scores (...) as a within-subjects factor and order as a between-groups design factor. A total of 131 nurses and nursing students were recruited from university nursing programs and hospitals in Texas. Participants were provided with a truthful vignette and deceptive vignette and used the Multidimensional Ethics Scale-Revised 1 to rate each vignette. Participants also completed the Lies in Nursing Ethics Questionnaire. The truthful nursing vignette was rated as more ethical than the deceptive vignette. Results indicated that most participants rated nursing deception as unethical, unacceptable, and a violation of the ANA ethical code. Some participants deemed that nursing deception may be acceptable within some cases. Age and years of experience were not related to the perceived ethics and acceptability of nursing deception. Nurses and nursing students believe that using deception with patients is unethical and unacceptable. However, some participants believed that deception may be warranted within some cases. These findings may reflect nurses’ placing the patient at the core of their values and viewing honesty as important for the nurse-patient relationship. Further implications and directions are discussed. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The aim of this article is to present re-enactment interviewing and to propose that it can be used to reveal tacit caring knowledge. This approach generates knowledge not readily attainable by other research methods, which we demonstrate by analysing the epistemological and methodological underpinnings of re-enactment interviewing. We also give examples from a study where re-enactment was used. As tacit knowledge is often characteristic of care, re-enactment interviewing has the potential to engage the informant in a holistic mode and thereby (...) reveal wisdom of the body. When the care provider recalls an event, the details are articulated, which contributes to in-depth data, which subsequently serves as a basis for trustworthy analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Remembering Professor CorlessRose DrewDo We Go from Here? The Many Religions and the Next Step. Over the years, his works examined Buddhist teachings and practices, Christian teachings and practices, Buddhist-Christian dialogue, and interreligious dialogue; more recently his focus had turned to queer dharma topics and same-sex issues.A memorial service, "We Are Life, Its Shining Gift," was held for Roger on March 10, 2007, in San Francisco. Friends and colleagues (...) spoke of Roger's life and accomplishments and his impact on their lives. There were Buddhist chanting and Christian hymns, with the service opening and closing with two musical pieces selected by Roger for that purpose: "The Swan of Tuonela" by Jean Sibelius and "The Lark Ascending" by Sir Ralph Vaughn William.Monetary memorial gifts are being received by the Society for Buddhist Christian Studies to be used in some fashion toward the 8th International Buddhist-Christian Dialogue to be held in 2009. Gifts should be sent to SBCS Corless Memorial Fund, CSSR Executive Office, Rice University MS 156, PO Box 1892, Houston, TX 77251-1892. To donate by credit card, call 713-348 5721.I was about six months into my current PhD research on Buddhist-Christian dual religious identity when I read a profile of Roger Corless in which he spoke about his own Buddhist-Christian identity (or "identities," because Roger saw his Buddhist "self " and his Christian "self " as two distinct identities). Roger immediately earned a place on my "most wanted" list, and when the time came to approach potential interviewees, I was delighted to find that Roger was eager, despite his failing health, to share with me the results of his "experiment" in dual belonging. So, last spring, I stayed with him for a few days and we talked at length about his religious thought and practice.That Roger was a remarkable man is clearly evident in his work: his wit and playful sense of humor, his sharp and inquisitive mind and vast knowledge of his subject, his intellectual integrity and concern for authenticity, and his insightful and innovative perspectives. Roger also possessed a healthy awareness of the potential for theology and "dharmology" to fail to do justice to the Christian's and the Buddhist's experience (which was what he considered to be crucial)—an awareness that was complemented by his remarkable ability to combine an intuitive, emotional response to truth and a sensitivity to the power of myth, symbolism, and poetry, with a thoroughgoing academic rigor. Sometimes he might start an essay with a song and, then, as he put it, "try to convert it into a philosophy," asking any readers who felt he had failed in the conversion to return again to the song, because, as far as he was concerned, the song would be true even if he himself had not correctly understood it. When I met Roger in person, I was delighted to find my sense of his intuitive spirituality, rich imagination, and shrewd intelligence confirmed, and was immediately struck also by his disarming honesty and humbling humility.It is a great privilege to have had the opportunity to meet Roger and talk [End Page 153] with him about his fascinating ideas. I was not always sure I fully understood them, and we certainly did not agree on everything: argue though we did about his notion that there could be more than one "Absolute," we never did come to share a perspective. But his ideas nevertheless continue to be a challenge to me and a reminder of the need for all of us engaged in dialogue to be respectful of the integrity of the religious traditions, and a warning to anyone who, like Roger, sees himself or herself as a person who, rather than simply being engaged in dialogue, is a dialogue, to be wary of quick-fix solutions to the questions and difficulties he or she inevitably faces. As far as Roger was concerned, it was better to live as an authentic Buddhist and as an authentic Christian and to accept what he took to be their conceptual irreconcilability than to accept any tidy reconciliation that might reduce both to the status of merely partial truths... (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

A previous study demonstrated that consonant recognition improved significantly in normal hearing listeners when useful frequency and time ranges were intensified by 6 dB. The goal of this study was to determine whether bilateral cochlear implant and bilateral hearing aid users experienced similar enhancement on consonant recognition with these intensified spectral and temporal cues in noise. In total, 10 BCI and 10 BHA users participated in a recognition test using 14 consonants. For each consonant, we used the frequency and time (...) ranges that are critical for its recognition, identified from normal hearing listeners. Then, a signal processing tool called the articulation-index gram was utilized to add a 6 dB gain to target frequency and time ranges. Consonant recognition was monaurally and binaurally measured under two signal processing conditions, unprocessed and intensified target frequency and time ranges at +5 and +10 dB signal-to-noise ratio and in quiet conditions. We focused on three comparisons between the BCI and BHA groups: AI-Gram benefits, enhancement in binaural benefits via the AI-Gram processing, and reduction in binaural interferences via the AI-Gram processing. The results showed that the mean AI-Gram benefit was significantly improved for the BCI and BHA groups. However, the mean binaural benefit was not improved after AI-Gram processing. Individual data showed wide ranges of the AI-Gram benefit and binaural benefit for both groups. Individual data also showed a decrease in binaural interference in both groups after AI-Gram processing. These results suggest that the frequency and time ranges, intensified by the AI-Gram processing, contribute to consonant enhancement for monaural and binaural listening and both BCI and BHA technologies. The intensified frequency and time ranges helped to reduce binaural interference but contributed less to the synergistic binaural benefit in consonant recognition for both groups. (shrink)

Visual research is a fast-growing interdisciplinary field. The flexibility and diversity of visual research methods are seen as strengths by their adherents, yet adoption of such approaches often requires researchers to negotiate complex ethical terrain. The digital technological explosion has also provided visual researchers with access to an increasingly diverse array of visual methodologies and tools that, far from being ethically neutral, require careful deliberation and planning for use. To explore these issues, the Symposium on Exploring Ethical Frontiers of Visual (...) Methods was held at the University of Melbourne, Australia, on 4 March 2014. The symposium was hosted by the Visual Research Collaboratory, a consortium of Australian and Canadian visual researchers, with support from Melbourne Social Equity Institute, University of Melbourne. The symposium represented the culmination of a process to develop a resource outlining principles of ethical practice for visual researchers and ethics committee members, the Guidelines for Ethical Visual Research Methods, which were launched at the event. The Guidelines present a framework for considering ethical matters in visual research, distinguishing six groups of issues united by an overarching theme: confidentiality; minimizing harm; consent; fuzzy boundaries; authorship and ownership; and representation and audiences. (shrink)

In Eum. 1028–9 the Furies mark their transformation into Eumenides by donning red robes over their black costumes in imitation of the robes worn in the Panathenaea by metics . Greek epic was sensitive to the symbolic value of clothing and Aeschylus had experimented in the Persians with the greater scope that drama offered for clothing-symbolism. Scholars have detected a wealth of associations in the Furies' robing-scene: this culmination of the trilogy echoes the red carpet upon which Agamemnon walks to (...) his death in the first play, which is actually referred to as ‘garments’ , and the net in which Agamemnon is caught , which is brought on stage in the middle play . Another series of stage-actions of equal importance in preparing for the robing of the Furies has not been so well explained. (shrink)

This study examines the case of community resource mobilization within the context of a farmers market incentive program in Washington D.C., USA to illustrate the ways in which providing opportunities for people impacted by food inequities to develop and lead programming can help to promote food access. Through an analysis of interviews with 36 participants in the Produce Plus program, some of whom also served as paid staff and volunteers with the program, this study examines the ways that group-level social (...) interactions among program participants helped to ensure the program was accessible and accountable to the primarily Black communities that it serves. Specifically, we explore a particular set of social interactions, which we collectively term social solidarity, as a community-level form of social infrastructure that program volunteers and participants mobilized to support access to fresh, local food in their communities. We also examine the elements of the Produce Plus program that contributed to the flow of social solidarity within the program, providing insight into the ways in which the structure of food access programs can serve as a social conduit to facilitate or hinder the mobilization of community cultural resources like social solidarity. (shrink)

From the late eighteenth through the end of the nineteenth century, educational philosophers and practitioners debated the benefits and shortcomings of the use of emulation in schools. During this period, “emulation” referred to a pedagogy that leveraged comparisons between students as a tool to motivate them to higher achievement. Many educationists praised emulation as a necessary and effective motivator. Other educationists condemned it for its tendency to foster invidious competition between students and to devalue learning. Ultimately, by the late nineteenth (...) century emulation as a specific pedagogical practice had disappeared in American educational culture. In this article, Mark Jonas and Drew Chambers ask whether the disappearance of emulation is something to be celebrated or lamented. To answer this question they examine the historical concept of educational emulation and analyze the bases on which proponents and opponents argued. Parties on both sides of the debate framed their arguments in close relation to the way emulation was being used at that time, which prioritized actual competitions and prizes. In that context, the opponents made a better case, which presumably contributed to emulation's disappearance in schools afterwards. However, as earlier proponents of emulation argued, emulation need not be restricted to competitions and prizes. Instead, these proponents offered a philosophically and psychologically rich defense of emulation, but these were not carried through to an appropriate degree. The authors conclude that, construed appropriately, emulation not only had tremendous educational potential then, but still does today. With intentional effort on the part of teachers, emulation can greatly enrich students' lives and act as a powerful learning motivator. (shrink)

This article endorses with substantial modifications M. Bernal's claim that the Greeks based Memnon on Ammenemes II of Egypt. An Egyptian origin for Memnon appears likely from Zeus' weighing of his fate against Achilles' in the Aethiopis, which is similar to an early spell of the Book of the Dead; from his Amazonian ally, who resembles the Nile-god, clad in a girdle with a single breast; and from his apotheosis, which is unlike Homer's usual view that the soul is witless (...) in death, yet is reminiscent of the soteriological Osiris-cult, which was known to the Mycenaeans. Bernal's view that Memnon was specifically Ammenemes, however, rests on one word in Strabo, judged by editors to be a scribal error. Cases for two other proposed models, Khumben-numena I of Elam and Sethos I of Egypt, are too complex and fragile to accept. Since at least the first century, the Greeks themselves linked Memnon to Amenhotep III of Egypt, calling a portrait-colossus of that pharaoh "Memnon." This identification was based, I argue, on the fact that the statue faces sunrise on the winter solstice and so was linked to the dawn. Amenhotep's name is too unlike Memnon's to have attracted to him a preexisting Greek figure, but, as P. Gilbert proposed, Amenhotep may have been the basis for that figure, for archaeological evidence shows his contact with the Aegean. Like Memnon, Amenhotep formed military pacts with eastern kings, was son of a solar deity, and was exceptionally handsome. Moreover, his father's name was Tuthmosis . In short, Bernal argues well that epic based Memnon on a real person, rightly seeks him in Egypt, but fails to rule out Amenhotep. (shrink)

Over the course of the latter part of the 20th century the notion that some animals might partake in a cultural form of life has gained growing support in the natural sciences. Iconic examples of tool using chimpanzees, sweet potato washing macaques, and milk bottle opening birds have captured scientific and popular interest alike. But at the same time that this effort to describe, define, and study animal cultures was developing, the global ecological crisis was deepening. This article explores this (...) strange juxtaposition. It offers a critical overview of the concept of animal culture as it has taken shape in the natural sciences. Building on this foundation, the article explores how and why animal cultures matter at the edge of extinction, exploring possible roles for the environmental humanities, extinction studies, and philosophical ethology, in developing new approaches to the question of animal culture in a time of escalating biodiversity loss. (shrink)

Background Although the importance of clinical ethics in contemporary clinical environments is established, development of formal clinical ethics services in the Australia health system has, to date, been ad hoc. This study was designed to systematically follow and reflect upon the first 18 months of activity by a newly established service, to examine key barriers and facilitators to establishing a new service in an Australian hospital setting. Methods: how the study was performed and statistical tests used A qualitative case study (...) approach was utilised. The study gathered and analysed data using observations of service committee meetings, document analysis of agendas and minutes, and semi-structured interviews with committee members to generate semantic themes. By interpreting the thematic findings in reference to national capacity building resources, this study also aimed to provide practice-based reflections for other health agencies. Results: the main findings An overarching theme identified in the data was a strong commitment to supporting clinicians facing difficult patient care decisions and navigating difficult discussions with patients and families. Another key theme was the role of the new clinical ethics support service in providing clinicians with a pathway to raise system-wide issues with the organisation Executive. While there was strong clinical engagement, consumer and community participation remained a challenge, as did unresolved governance issues and a need for clearer policy relationship between the service and the organisation. Conclusions: brief summary and potential implications Considering these themes in relation to the national capacity building resources, the study identifies three areas likely to require ongoing development and negotiation. These are: the role of the clinical ethics support service as a link between the workforce and the Executive; the incorporation of consumers and patients; and ethical reasoning. To improve the effectiveness of the service, it is necessary to increase clarity on the service’s role at the governance and policy level, as well as develop strategies for engaging consumers, patients and families. Finally, the capacity of the service to reflect on complex cases may be enhanced through explicit discussions of various different ethical frameworks and ways of deliberating. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Graphical Abstract2013 marks the 50th annual Drew festival in Uto City, Japan, celebrating the work of University of Manchester botanist, Dr. Kathleen Drew-Baker. Her insight into the reproductive biology of algae was the key to efficient farming of the seaweed “nori” which is a familiar component of Japanese food.

: Mu1ammad Taqiyy al-Dīn al-Maqrīzī is undoubtedly the historian with the most expansive repertoire of the entire fifteenth century Arabic historiography. His al-Mawā’iẓ wa-l-i’tibār bi-dhikr al-khiṭaṭ wa-l-āthār, in particular, is a unique achievement, which manages to present a general historical discourse through the chronicling of buildings and topography. This unprecedented book, this paper argues, may have benefited from the author’s extended association with Ibn Khaldūn, the great interpreter of the notion of ’umrān. Ibn Khaldūn was al-Maqrīzī’s revered teacher for at (...) least thirty years. He seems to have influenced his pupil’s thinking about the city as the domain of civilization in two ways: analytical, that is to look for causes and effects behind events and appearances, and interpretive, that is to see in the urban and architectural history of the city the illustration of the underlying civilizational cycle. In the Khiṭaṭ, al-Maqrīzī seems to have applied his master’s theory to a concrete example – the city of Cairo – and drew from it pronounced moral lessons on the decline he was observing in the Mamlūk sultanate. This is probably why the Khiṭaṭ’s influence has endured for more than five centuries: a tribute to its author’s ardent passion and filial affinity with his city and country, as well as his interpretive framework, which he probably absorbed from Ibn Khaldūn. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Who was Socrates? CORNELIA DE VOGEL I CONSIDERIT TO BE quite a privilege to be invited to speak of Socrates,1 not only because of the wonderful picture drawn by Plato of his master in what we call the Socratic dialogues, but perhaps mostly because there is a real challenge in the difference of opinion among modern scholars on the question of "Who was Socrates?" I have solid grounds for (...) being convinced that we can answer that question in a positive manner; that is, I think I can explain, first, that it is not true (as some modern scholars hold) that we are unable to grasp the historical reality that stands behind the name of Socrates; second, that there are a few modern interpretations of Socrates which are suggestive but false; third, that one and only one interpretation is well founded and correct. I think it is worthwhile to spend an hour considering these points. Socrates is one of those four famous Greek philosophers who did not leave any written works. The other three are: Pythagoras, who in Aristotle's day already seemed to disappear in the haze of a remote past; Pyrrho, the founder of the Sceptic School, and Carneades, that famous dialectician who was the head of the New Academy in the second century. On none of these so much as on Socrates have modern critics endeavored to demonstrate that he never existed? The most refined representative of the nineteenth-century style of criticism is O. Gigon, who modified Dupr6el's thesis insofar as he does not deny explicitly that there existed an Athenian called Socrates, and even that he may have been an important personality. But he does hold that we cannot know of what importance was Socrates. To prove his thesis Gigon deals first with the tradition about the indictment, the litigation and condemnation of Socrates; next with the story about the Delphic oracle and Socrates' calling to philosophy; then with his marriage and family life, and last, with his relation to the city of Athens. It is not too difficult to cite divergent and even contradictory information on all these points. As to Plato's dialogues, in which the philosopher Socrates is pictured--to the life, as it might seem to us--according to Gigon the historical value of t Lecture at the University of California, Berkeley, May 25, 1962. ~E. Dupr6el, La ldgende de Socrate et les sources de Platon (Brux., 1921); O. Gigon, Sokrates (Bern, 1947; Samml. Dalp). (See my review in Mnemosyne [1950]; see also Phronesis [1955], I.) A. H. Chroust, Socrates, Man and Myth (London, 1957), adopts essentially Gigon's thesis. [14s] 144 HISTORY OF PHILOSOPHY these writings is by no means greater than that of any other of our sources. Why should they be more trustworthy? Because the image they present is beautiful? That would be a deceptive ground, for Plato may have invented freely, and we have good reason to believe he did. In fact, if anybody holds that we do not know anything for certain about Socrates, he must begin by disparaging Plato's testimony altogether. Next, he must deny that Aristotle said a word of truth about what was the proprium of Socrates as a philosopher, and in what Plato differed from him. Third, he must assert that there is a complete disagreement between Plato and Xenophon as to the personality of Socrates, not to mention the fifthcentury comedian Aristophanes (who, as a matter of fact, drew a fairly strange portrait of the philosopher). After having thus rejected the testimony of contemporaries and their direct successors, he may turn to the gossip of those later authors who have no authority at all: Aristoxenus, a furious anti-Socratic, who is cited by Plutarch as a classical instance of malignity; Diogenes Laertius, that late writer (3rd century A.D.) who tells us the strangest stories about all Greek philosophers; Athenaeus, Herodicus, Aelianus, and so on--and find there divergent and contradictory information about Socrates' life and behavior. Let us begin by stating that we must not follow this procedure. Moreover, let us state that it is not interesting to us that, while Plato and Xenophon say Socrates was married... (shrink)

In 2001, three non-Aboriginal men in their twenties were charged with the sexual assault of a twelve year old Aboriginal girl in rural Saskatchewan. Legal proceedings lasted almost seven years and included two preliminary hearings, two jury trials, two retrials with juries, and appeals to the provincial appeal court and the Supreme Court of Canada. One accused was convicted. The case raises questions about the administration of justice in sexual assault cases in Saskatchewan. Based on observation and analysis of the (...) record, this paper: (1) examines relationships between legal errors dealing with availability of the defence of “belief in consent” and interpretation of the “all reasonable steps” provision, the need for retrials, and apprehended race-gender-age bias and discrimination; and 2) proposes incremental and systemic remedies to address the weaknesses in police, prosecutorial and judicial policy and practice highlighted by this case. (shrink)

This qualitative study focused on how two women African American teachers understand the purpose of teaching social studies and citizenship. The multiple identities as African American women and teachers along with their knowledge of African American history impacted the way notions of citizenship were understood and taught to students. The teachers drew on tenets of Black Feminist thought to make sense of construct of citizenship. Instead of conveying traditional notions of citizenship that include personal responsibility, patriotism, and membership to (...) the nation state, they rejected these constructs of citizenship and understood their role as social studies teachers to instill notions of community membership and agency as aspects of citizenship. African American teacher's alternative notions of citizenship may provide a framework by which reconceptualized multiple views of American citizenship may be presented. (shrink)

ABSTRACTThe evolution and adaptation of journalistic practice in response to discourses taking place in networked and shared media environments and the implications of same have been the focus of much academic attention in recent years. This paper examines the agenda-setting potential of Twitter and considers how this feeds into and affects journalistic output. It does so by applying a Critical Discourse Analysis framework in considering whether reportage on particular news events are re-framed in the aftermath of Twitter campaigns. In August (...) 2016, the Irish media’s framing of the Hawe murder suicide via sourcing, emphasis and agency drew widespread criticism on social media for its perceived ‘omission’ or ‘significant silence’ about one of the victims, Clodagh Hawe, from the narrative in favour of a greater focus on the perpetrator, Alan Hawe. Criticism of the initial coverage of the incident was in large part driven by the #hernamewasclodagh social media campaign. This paper takes an intertextual... (shrink)

I was the graduate student that Albert Jonsen so aptly describes. Bronx born and educated at the City College of New York, I emigrated to the Midwest to study at the Minnesota Center for the Philosophy of Science, where May Brodbeck, Herbert Feigl and other “logical positivists” were engaging in an ongoing dialogue with postpositivists like Paul Feyerabend and Karl Popper. In this environment, I studied philosophy of science, epistemology, and metaethics—the epistemology and logic of ethical concepts and language. I (...) even wrote my thesis on the ur-text of the metaethical turn, G. E. Moore's Principia Ethica. Then, like other epistemologists and metaethicists, “a public disaster, the American military involvement in Southeast Asia,” as well as the burgeoning civil rights movement, drew me into the sphere of public debate. (shrink)

It was commonly accepted in Goethe’s time that plants were equipped both to propagate themselves and to play a certain role in the natural economy as a result of God’s beneficent and providential design. Goethe’s identification of sexual propagation as the “summit of nature” in The Metamorphosis of Plants (1790) might suggest that he, too, drew strongly from this theological-metaphysical tradition that had given rise to Christian Wolff’s science of teleology. Goethe, however, portrayed nature as inherently active and propagative, (...) itself improvising into the future by multiple means, with no extrinsically pre-ordained goal or fixed end-point. Rooted in the nature philosophy of his friend and mentor Herder, Goethe’s plants exhibit their own historically and environmentally conditioned drives and directionality in The Metamorphosis of Plants. In this paper I argue that conceiving of nature as active productivity—not merely a passive product—freed Goethe of the need to tie plants’ forms and functions to a divine system of ends, and allowed him to consider possibilities for plants, and for nature, beyond the walls of teleology. (shrink)

Measurement was vital to nineteenth-century engineering. Focusing on the work of the Stevenson engineering firm in Scotland, this paper explores the processes by which engineers made their measurements credible and explains how measurement, as both a product and a practice, informed engineering decisions and supported claims to engineering authority. By examining attempts made to quantify, measure and map dynamic river spaces, the paper analyses the relationship between engineering experience and judgement and the generation of data that engineers considered to be (...) ‘tolerably correct’. While measurement created an abstract and simplified version of the river that accommodated prediction, this abstraction had to be connected to and made meaningful in real river space despite acknowledged limitations to measuring practice. In response, engineers drew on experience gained through the measuring process to support claims to authoritative knowledge. This combination of quantification and experience was then used to support interventions in debates over the proper use and management of rivers. This paper argues that measurement in nineteenth-century engineering served a dual function, producing both data and expertise, which were both significant in underpinning engineering authority and facilitating engineers’ intervention in decision making for river management. (shrink)

Was the Byzantine thinker Nicephorus Blemmydes directly influenced in his views about human “proairesis” by the Stoic Epictetus or did he take over his views from the Neoplatonic Simplicius? After exploring Blemmydes’ reception of Epictetus, one can say that Blemmydes drew elements in a brief treatise under the title “De virtute et ascesi” from the mainly Neoplatonic Simplicius, who commented on the handbook by the Stoic Epictetus. Blemmydes, following Simplicius identifies “φ’ μν” with “aftexousion” and he designates “proairesis” as (...) an activity, which emanates from “aftexousion”. Blemmydes shows the moral power of “proairesis” as a transforming factor of human existence and the mediatory factor to the dialectical relation between man and God. For the completion of the study, the following sources have been used: Blemmydes’ De virtute et ascesi, Epictetus’ Handbook, and Neoplatonic Simplicius’ commentaries on the Handbook. I specifically focus on the views of Aristotle, Epictetus, and Neoplatonic Simplicius about “proairesis” and compare the views of Blemmydes to Simplicius’ ideas. I conclude that Blemmydes drew ideas from Simplicius, with regard to human “proairesis” and in the context of the practising and cultivating virtues in everyday life. (shrink)

Aristotle was the first thinker to devise a logical system. He drew upon the emphasis on universal definition found in Socrates, the use of reductio ad absurdum in Zeno of Elea, claims about propositional structure and negation in Parmenides and Plato, and the body of argumentative techniques found in legal reasoning and geometrical proof. Yet the theory presented in Aristotle’s five treatises known as the Organon—the Categories, the De interpretatione, the Prior Analytics, the Posterior Analytics, and the Sophistical Refutations—goes (...) far beyond any of these. (shrink)

In 1934, Oscar Reutersvärd drew what is generally acknowledged to be the first impossible triangle. Over the course of his lifetime, Reutersvärd created thousands of impossible figures, three of which would later adorn a series of Swedish postage stamps. But despite his enormous, inventive output, Reutersvärd is not widely known. Instead, impossible figures are popularly associated with M. C. Escher—three of whose more famous works include impossible figures—and the mathematical physicist Roger Penrose, who published the first academic article about (...) impossible figures in 1958 after independently discovering the impossible triangle. For Escher and Penrose, however, impossible figures were merely a passing interest. And while Penrose was concerned primarily with the mathematics of impossible figures and Escher integrated them into familiar human scenes, Reutersvärd’s abstract, minimalistic renderings express a fascination with the figures themselves. Free of adornment, they attract and command the eye, and exhibit a strange and peculiar beauty. -/- In this chapter, I investigate why we find impossible figures so visually compelling. In other words, my concern here is the specifically aesthetic appeal of impossible figures. Mathematicians and logicians have studied them for their mathematical and logical properties (Mortensen 2010), psychologists for what they reveal about the visual system (Gregory 1997, chap. 10), and philosophers in part for what they tell us about the limits of the imagination (Elpidorou 2016, 11), but we value them mainly as things to look at. This is what I want to understand. -/- I will work in three stages, using three methods. First, I will define the domain of investigation. What exactly is an impossible figure? Answering this question requires a form of conceptual analysis and raises a variety of interesting philosophical issues. Second, I will ask about the experience of looking at impossible figures. Here I will proceed by introspection—a first-person study of my own experience. Finally, I will appeal to results from experimental psychology to develop an empirically-grounded hypothesis about the visual appeal of impossible figures. If things go well, we will learn something not only about impossible figures, but about ourselves, and how and why we look at visual art in general. (shrink)