A patient arrives in the emergency room apparently in a comatose state. But is he really unconscious or just faking? The young doctors on duty are skeptical. Failing to get a reaction with a chest rub, they try a variety of methods that become increasingly sadistic—pressing on the patient's fingernail with a ballpoint pen, spraying his testicles with a skin‐freezing compound, announcing an imminent eye injection to scare the patient awake.I first encountered those chilling pen‐and‐ink images in a 2012 (...) class='Hi'>comic book, Disrepute, authored by Thom Ferrier, the nom de plume for British general practitioner Ian Williams. Disrepute is part of a young but growing genre that Williams helped dub "graphic medicine" when he founded a website by that name in 2007. Using the graphic novel form, doctors, nurses, and patients are producing accounts that often reveal the dark underbelly of the world of medicine. From patients and their families, these include portraits of imperious and insensitive physicians or nurses; from doctors, explorations of the doubt that racks them when their treatment ends in a mistake or a patient's death. While the form is also referred to as “comics,” the work, as in Williams's strip, is bleak just as often as it is humorous. (shrink)

Medthics is an online graphic novel series comprising of six issues . What is often viewed as pop culture escapism, this "comic book" series tackles the complex world of medicine and its moral/ethical intricacies. From topics about physician identity formation to humane patient care, Medthics brings to the forefront subject matter essential to clinical practice. The art of medicine is depicted through stylized characters as they live their lives through a fictional world inspired by true events.

This essay studies Edie Fake’s award-winning graphic novel Gaylord Phoenix from the perspective of Queer Theory and Transgender Studies. Nikki Sullivan’s use of the term transmogrification from her work on somatechnics provides a critical lens through which to examine Fake’s exploration of the transgender body in his narrative. Fake includes multiple images of bodies undergoing radical transformations through a combination of magic and surgery, blurring the distinction between modern science and the occult. The essay also explores Fake’s status as (...) an innovator in the world of comic books and graphic novels as he creates an idiosyncratic verbal and visual vocabulary largely unprecedented in the world of sequential art. (shrink)

Non-fiction graphic novels about illness and death created by patients and their loved ones have much to teach all readers. However, the bond of empathy made possible in the comic form may have special lessons for healthcare providers who read these texts and are open to the insights they provide.

Literary narratology has rightly devoted much attention to analysing the source(s) of verbal information about the story world, usually discussed under the label “narration”, and to any agent(s) that present(s) non-verbalized perspectives on it, usually discussed under the label “focalization”. Assessing the identity of narrators and focalizers is crucial for understanding what is going on in the story world. Which narrative agent is in charge? Is the narration and/or focalization layered? If the latter, is there any “colouring” by the higher-level (...) narrative agent of anything said, thought, or experienced by the lower-level agent? Is the information provided trustworthy? Nuanced? Prejudiced? Narration and focalization have supra-medial as well as medium-specific dimensions. Over the past years, the issue of how these concepts function in the medium of comics, which combines visuals and language, has begun to be systematically addressed. This paper aims to show how the visual mode can, on its own or combined with the written-language mode, signal the sources of narration, focalization, and joint narration-and-focalization, as well as distinguish between different levels at which these take place. (shrink)

The paper is a study of how graphic narratives (graphic novels and the comics) represent time in external visual space as well as in inner (mental) representations. Peirce’s semiotics is the main tool of research. After a survey of various approaches to the study of time in narratives in general and in graphic narratives in particular, an outline of the various aspects of the embodiment of time in space in general is given before the forms of the (...) embodiment of time in the space of graphic narratives is examined in detail. Signs of time are signs that represent time as their object and create mental representations of time as their interpretant. On this semiotic premise, the paper proposes a reinterpretation of Genette’s theory of time in narratives. A comparison with narratives in prose reveals that narrative time in graphic narratives evinces marked discontinuities in their spatial representation. The paper distinguishes between time as continuity, time as age, and points in time. It concludes that time as continuity is typically embodied in the form of spatial diagrams whereas time as age and points in time are mainly of the nature of indexical signs. The insights into the forms of embodiment of time in space derived from these premises are applied to examples from recent graphic novels and some traditional comics. (shrink)

Curricular design that addresses residency physician competencies in communication skills and professionalism remains a challenge. Graphic Medicine uses comics, a medium combining text and images, to communicate healthcare concepts. Narrative Medicine, in undergraduate medical education, has limited reported usage in Graduate Medical Education. Given the time constraints and intensity of GME, we hypothesized that comics as a form of narrative medicine would be an efficient medium to engage residents.The authors created a novel curriculum to promote effective communication and professionalism, (...) focusing on empathy, compassion and cultural competency. A four-week curriculum was delivered in a neurology residency program. Excerpts from non-fiction graphic memoirs about neurological conditions were read, discussed, and paired with prompt-driven drawing exercises. Qualitative surveys were used to assess acceptability of comics, usefulness of comics to convey patient illness experience, and perception of patient needs for physician-patient communication.Ninety-seven percent of residents reported the sessions were a good use of their time. Residents identified new symptoms of neurologic disorders, articulated patient communication needs, and expressed increased empathy after participation. Residents participated in drawing exercises, but these were not formally analyzed. Graphic medicine is a well received format that may build communication skills and increase empathy. (shrink)

The author reviews two adaptations of Anthem as a graphic novel and a third book, The Age of Selfishness, that combines a biography of Rand with an account of the financial crisis of the early twenty-first century and her putative responsibility for it. The graphic novels are both enjoyable versions of Rand's thought-provoking science-fiction novella, to different degrees; the nonfiction book is filled with distortions, polemic, and caricature.

In this paper, I attempt to address some of the themes of Ludwig Wittgenstein’s Tractatus logico-philosophicus with the aim of their deconstructionist interpretation. My analysis is based on David Gunkel’s book Deconstruction (MIT Press 2021). Based on some of its findings, I show how the Tractatus allows deconstruction and its practice to be thought. I show that the graphic structure of signs is crucial for the young Wittgenstein’s analysis and that it justifies the metaphysical findings in favor of which (...) he argues. ------------------------- Received:11/09/2022. Reviewed: 17/11/2022. Accepted: 1/12/2022. (shrink)

Was macht den Comic als Medium aus? Wer oder was macht ihn zu einem Medium? Für die Erforschung von Comics gibt es bislang keinen allgemein verbindlichen Medienbegriff: Zu divers scheinen sie, wenn sie aus Texten und Bildern arrangiert, in Zeitungen gedruckt, als Hefte gesammelt, als graphic novels besprochen oder auf Smartphones gelesen werden. Die Medien des Comics entwickelt ein Medialitätsmodell, mit dem sich der medialen Bestimmung von Comics gerade in ihrer Veränderbarkeit nachgehen lässt. Medialität wird dazu als ein (...) Verbindungsprinzip verstanden, nach dem die Einrichtung eines bestimmbaren Mediums Comic aus Materialien, Zeichen und Institutionen stetig neu vollzogen wird. Analysen zeigen auf, wie heterogene Akteure diese modernen Medienbestimmungen verändern - und wie dabei Kontroversen hinsichtlich der Mediengeschichte, Nostalgie, Selbstreflexivität und Materialität von Comics aufkommen. Dabei führen die Fallbeispiele von der Vergangenheit der comic strips und comic books zu aktuellen Entwicklungen im Zusammenhang mit Smartphones, Webcomics und Blogs. Der Band richtet sich an Comicforschende unterschiedlicher Disziplinen sowie an Medienwissenschaftler: innen, die sich mit Transformationsprozessen auseinandersetzen. (shrink)

One of the clearest signs that Psychology has impacted popular culture is the public’s familiarity with the Rorschach ink-blot test. An excellent example of the Rorschach in popular culture can be found in Watchmen, the comic/graphic novel written by Alan Moore and Dave Gibbons (1987). In the mid-20th century Psychology had an especially contentious relationship with comics; some psychologists were very anxious about the impact comics had on young people, whereas others wrote comics to subvert dominant norms about (...) gender and sexuality. Yet historians of Psychology have had almost nothing to say about this popular and critically acclaimed novel. We read Watchmen here for its narratives that most concern the history of Psychology. We focus on such themes as anti-psychiatry, sexual violence, homophobia, lesbian erasure and social psychological research on bystander intervention. We argue it is possible to align Psychology and comics more closely despite their sometimes contentious history. In doing so we demonstrate the active role of the public in the history of the Rorschach, and the public engagement of Psychology via comics, and also reveal what is possible when historians consider comics within their histories. (shrink)

This essay explores an overlooked dimension of Slavoj Žižek's thought: his perspective on, and engagement with, a concrete philosophy of Trans-History. Specifically, it examines the philosophy of Trans-History presented in Surplus Enjoyment. While I do not claim that Žižek constructs a new philosophy of Trans-History in this book, I demonstrate that he directly and consistently engages with this philosophical domain and adopts several premises from Hegelian, Marxist, and Christian philosophies of Trans-History. Building on this analysis, I elucidate Žižek's stance on (...) historicism, his advocacy for the use of theological concepts to understand and safeguard contemporary history, and his interpretation of Todd Phillips’ Joker (2019) as a figure that should not be considered a sociopolitical paradigm for achieving the telos of contemporary history—namely, the unification and cooperation of global societies to avert a looming ecological catastrophe. Additionally, I challenge Žižek's praise of Joker for its portrayal of a profound and ambiguous character symbolizing "self-destructive political nihilism." I argue that this depiction of the Joker lacks originality and merit within the context of the film, as it borrows heavily from the Joker's extensive history in comics, a legacy dating back to 1940 and shaped by numerous writers. (shrink)

How can the question of authority, the power and presence of the English, be posed in the interstices of a double inscription? I have no wish to replace an idealist myth—the metaphoric English book—with a historicist one—the colonialist project of English civility. Such a reductive reading would deny what is obvious, that the representation of colonial authority depends less on a universal symbol of English identity than on its productivity as a sign of difference. Yet in my use of “English” (...) there is a “transparency” of reference that registers a certain obvious presence: the Bible translated into Hindi, propagated by Dutch or native catechists, is still the English book; a Polish émigré, deeply influenced by Gustave Flaubert, writing about Africa, produces an English classic. What is there about such a process of visibility and recognition that never fails to be an authoritative acknowledgement without ceasing to be a “spacing between desire and fulfillment, between perpetuation and its recollection … [a] medium [which] has nothing to do with a center” ?This question demands a departure from Derrida’s objectives in “The Double Session”; a turning away from the vicissitudes of interpretation in the mimetic act of reading to the question of the effects of power, the inscription of strategies of individuation and domination in those “dividing practices” which construct the colonial space—a departure from Derrida which is also a return to those moments in his essay when he acknowledges the problematic of “presence” as a certain quality of discursive transparency which he describes as “the production of mere reality-effects” or “the effect of content” or as the problematic relation between the “medium of writing and the determination of each textual unit.” In the rich ruses and rebukes with which he shows up the “false appearance of the present,” Derrida fails to decipher the specific and determinate system of address that is signified by the “effect of content” . It is precisely such a strategy of address—the immediate presence of the English—that engages the questions of authority that I want to raise. When the ocular metaphors of presence refer to the process by which content is fixed as an “effect of the present,” we encounter not plenitude but the structured gaze of power whose objective is authority, whose “subjects” are historical. Homi K. Bhabha is lecturer in English literature and literary theory at the University of Sussex. He is working at present on Power and Spectacle: Colonial Discourse and the English Novel and is commissioning and editing a collection of essays entitled Nation and Narration: Post-structuralism and the Culture of National Identity. He is also writing the introduction to the new English edition of Frantz Fanon’s Black Skin, White Masks. (shrink)

An examination of the specifically graphic-novelistic strategies employed in Art Spiegelman's graphic memoir, Maus, in leading the reader into a punctuated experience of time and memory, and in forcing complicity with the novel's problematic animal-as-ethnicity metaphor, in a wider attempt at putting together the critical vocabulary for discussing comic books as simultaneously textual and pictorial ‘texts’.

At War with War visualizes humanity's 5,000-year-long state of conflict, chaos, and violence on a continuous timeline. Seventy pages of stark black-and-white pen-and-ink drawings and woodcuts illustrate history's most notorious battles -- from 3300 BCE to the present day. Interspersed are contemplations on war from historic thinkers, including excerpts from "The Art of War" by Sun Tsu, "The Complaint of Peace" by Desiderius Erasmus, and "The State" by Randolph Bourne. Searing and sardonic, balancing anger and despair with wit and humanity, (...) these raw illustrations follow in the tradition of great social satirists such as Honoré Daumier, Frans Masereel, Felix Vallotton, and Otto Dix. Seymour Chwast is a design legend. As co-founder with Milton Glaser of Push Pin Studios, he led a revolution in graphic design in the 1960s and '70s, producing bold, vibrant work that pushed the limits of nearly every visual medium.Now, he turns his pen and sketchpad toward creating a new book on a subject that has been a personal obsession for nearly six decades: the fight against war, humankind's never-ending scourge. (shrink)

Though graphic narratives (or comics) now permeate popular culture, address every conceivable topic including illness and dying, and are used in educational settings from grade school through university, they have not typically been integrated into the medical school curriculum. This paper describes a popular and innovative course on comics and medicine for 4th-year medical students. In this course, students learn to critically read book length comics as well as create their own stories using the comics format. The rationale for (...) the course, its general content and format, and methods for teaching are described. Finally, the author offers some reflections on why this medium resonates so powerfully with medical student learners. (shrink)

A great deal of the humor that we encounter is narrative in form. This is obviously the case with many, if not most, jokes. But humor also occurs in more expanded narrative frameworks, including plays, novels, films, short stories, TV programs, comic books, and so forth. The purpose of this paper is to explore the question of whether there are any plot structures—of magnitudes greater than that of the joke—that might be thought of as comic in virtue of (...) their narrative form. (shrink)

This book examines the ways in which religious communities experimentally engage the world and function as fallible inquisitive agents, despite frequent protests to the contrary. Using the philosophy of inquiry and semiotics of Charles Sanders Peirce, it develops unique naturalist conceptions of religious meaning and ultimate orientation while also arguing for a reappraisal of the ways in which the world’s venerable religious traditions enable novel forms of communal inquiry into what Peirce termed “vital matters.” Pragmatic inquiry, it argues, is a (...) ubiquitous and continuous phenomenon. Thus, religious participation, though cautiously conservative in many ways, is best understood as a variety of inhabited experimentation. Religious communities embody historically mediated hypotheses about how best to engage the world and curate networks of semiotic resources for rendering those engagements meaningful. Religions best fulfill their inquisitive function when they both deploy and reform their sign systems as they learn better to engage reality. (shrink)

What exactly are comics? Can they be art, literature, or even pornography? How should we understand the characters, stories, and genres that shape them? Thinking about comics raises a bewildering range of questions about representation, narrative, and value. Philosophy of Comics is an introduction to these philosophical questions. In exploring the history and variety of the comics medium, Sam Cowling and Wesley D. Cray chart a path through the emerging field of the philosophy of comics. Drawing from a diverse range (...) of forms and genres and informed by case studies of classic comics such as Watchmen, Tales from the Crypt, and Fun Home, Cowling and Cray explore ethical, aesthetic, and ontological puzzles, including: -/- - What does it take to create-or destroy-a fictional character like Superman? - Can all comics be adapted into films, or are some comics impossible to adapt? - Is there really a genre of “superhero comics”? - When are comics obscene, pornographic, and why does it matter? -/- At a time of rapidly growing interest in graphic storytelling, this is an ideal introduction to the philosophy of comics and some of its most central and puzzling questions. (shrink)

A modern form of narrative, comic books are used to communicate, discuss, and critique issues in business ethics and social issues in management. A description of comic books as a legitimate medium is followed by a discussion of the pedagogical uses of comic books and assessment techniques. The strengths of the pedagogy include crossing cultural barriers, understanding the complexity of individual decision-making and organizational influences, and the universality of dilemmas and values. We provide an initial source for (...) educators on the topics, comic books, plotlines, and other commentary for consideration of use in the classroom from high school to graduate business ethics and social issues in management courses. (shrink)

What would happen if lightning struck a tree in a swamp and transformed it into The Swampman, or if saving billions of lives required sacrificing millions first? The first is a philosophical thought experiment devised by Donald Davidson, the second a theme from a comic written by Alan Moore. I argue that that comics can be read as containing thought experiments and that such philosophical devises should be shared with students of all ages.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:GenetGerald PrinceGenet, by Edmund White (with a chronology by Albert Dichy); xliii & 820 pp. London: Picador, 1994, $29.95 paper.Abandoned to a foundling home in 1910 at the age of seven months, he started to steal before puberty, spent over two years as a teenager in the penal colony of Mettray, signed up with the French army for several tours of duty, and deserted. He traveled through Europe (...) and was arrested in Albania, Yugoslavia, Austria, Czechoslovakia, Poland. He was also repeatedly arrested and sent to jail in France—for embezzlement, for petty theft, for vagrancy—and his record of convictions made him liable for a life sentence until he was pardoned by the President of the Republic. He looked like a dandified tramp or a retired boxer. He frequented thugs and artists or philosophers, criminals and police chiefs, prostitutes as well as cabinet ministers. A book lover, he owned no books. A homosexual, he was rarely attracted to other homosexuals. A great champion of singularity, he came to feel that all human beings were equally valuable. Though he showed himself capable of impassioned friendship, he extolled and often practiced betrayal. He once boasted of being “strong from never having passed through a woman except at the moment of [his] birth” (p. 594). Yet he was a feminist. For a long time he could barely compose a standard letter in French but, when he died from throat cancer in 1985, he had written several masterpieces. He was Jean Genet.If, in his monumental Saint Genet, Sartre pays more attention to the configuration of the writer’s life than to the moments making up that life, Edmund White, in his admirable biography, patiently aligns the moments and waits for patterns to emerge. Genet is, first of all, a meticulous chronicle and can be savored for the details it provides about the protagonist’s daily life or its context, from gay bars in Pigalle to the 1968 Democratic convention in Chicago which Genet covered for Esquire. We learn many things. For example, that the FBI spelled his name as “John Genet” and Sartre’s as “Jean Paul Sat”; or that Leonard Nimoy (Mr. Spock) started his career by playing in movie versions of two Genet plays: The Balcony and Deathwatch.Through the accumulation of facts and anecdotes, great themes—homosexuality, death, abjection, gesture, power—slowly crystallize and White writes splendid pages on the quality of Genet’s texts (beyond their shock value: Genet said that “poetry is the art of using shit and making you eat it”). Written from 1942 to 1947, his five novels (Our Lady of the Flowers, The Miracle of the Rose, Funeral Rites, A Thief’s Journal, Querelle) treat homosexuality with unsurpassed candor, glorify evil, transvalue all values, and blend sociology and myth, slang and highly formal language, in a sumptuously lyrical prose. With The Balcony, The Blacks, and The Screens—composed between 1955 and 1957—Genet invents a stylized and ritualistic theater to explore the dynamics of power. Finally, in the striking mixture of memoir, pamphlet, and epic called The Prisoner of Love [End Page 146] (1985) Genet exalts two disinherited groups—the Black Panthers, the Palestinians—and suggests that love is the site where uniqueness and universality merge.More generally, certain constants in Genet’s life become evident: the loyalty to the abandoned child he was and the hatred for the bourgeois society that dispossessed him; the need to reject before being rejected; the fascination with power and the affirmation of otherness; the ability to mythify himself as an angel of rebellion. Genet was a sociopath of genius.Above all, by its scrupulous scholarship, its successful determination to remain impartial, and its capacity for authoritative prosaism, White’s biography encourages readers to take a (new) look at Genet’s flamboyantly unorthodox writing. It is a remarkable achievement.Gerald PrinceUniversity of PennsylvaniaCopyright © 1995 The Johns Hopkins University Press... (shrink)

W. V. Quine’s first philosophical monograph, Word and Object, is widely recognized as one of the most influential books of twentieth century philosophy. Notes, letters, and draft manuscripts at the Quine Archives, however, reveal that Quine was already working on a philosophical book in the early 1940s; a project entitled Sign and Object. In this paper, I examine these and other unpublished documents and show that Sign and Object sheds new light on the evolution of Quine’s ideas. Where “Two Dogmas (...) of Empiricism” is usually considered to be a turning point in Quine’s development, this paper redefines the place of ‘Two Dogmas’ in his oeuvre. Not only does Quine’s book project reveal that his views were already fairly naturalistic in the early 1940s ; Sign and Object also unearths the steps Quine had to take in maturing his perspective; steps that will be traced in the second half of this paper. (shrink)

Lochlann Jain's debut non-fiction graphic novel, Things That Art, playfully interrogates the order of things. Toying with the relationship between words and images, Jain's whimsical compositions may seem straightforward. Upon closer inspection, however, the drawings reveal profound and startling paradoxes at the heart of how we make sense of the world. Commentaries by architect and theorist Maria McVarish, poet and naturalist Elizabeth Bradfield, musician and English Professor Drew Daniel, and the author offer further insight into the drawings in this (...) collection. A captivating look at the fundamental absurdities of everyday communication, Things that Art jolts us toward new forms of collation and collaboration. (shrink)

As a doctor and practitioner researcher, I use comics as a research method. This graphic article is an attempt to convince you, the academy and perhaps myself, that comics are research.

The life, times, and work of Herbert Marcuse, one of the 20th century's most remarkable cultural figures.

Most research in philosophy of perception has focussed on the perceptual experience of three-dimensional, solid, bounded and coherent material objects – items like ink-stands and tomatoes. But as well as having perceptual experience of such objects, we also experience such ‘perceptual ephemera’ as, for instance, rainbows, surfaces, and stuff; things that are ephemeral in the sense that they can be contrasted, in selected respects, with material objects. This book collects together fourteen new essays on the perceptual experience of ‘ (...) class='Hi'>ephemera’. A substantive introduction by the editors provides a detailed introduction to the topic as a whole, setting out the thematic background to this emerging area of research in contemporary philosophy of perception. The volume winds a path through the ephemeral that touches on sensibilia, shadows and absences, as well as on ephemeral topics that are less familiar: media, transparency, camouflage, solidity and ambient vision. (shrink)

This chapter is unique for several reasons. First, it brings together two unlikely authors, a PhD ethicist and her 15‐year‐old high‐school daughter, whose diverse interests include thinking about depictions of female characters in graphic novels. Second, it compares two unlikely DC female characters, Wonder Woman (the Amazonian princess heroine who protects innocent citizens from evil) and Harley Quinn (the ever‐evolving anti‐hero who vacillates between being an outright villain to being merely window dressing for her boyfriend, the Joker). The conclusion (...) of the chapter is unlikely, too: neither Wonder Woman nor Harley Quinn can ultimately succeed in their roles as moral hero and immoral anti‐hero when their popularity depends upon them being depicted as sexual objects. The chapter uses Aristotle's ethics to show that it isn't Wonder Woman's virtue that is thwarted, but her phronesis. Harley's antiheroism is similarly in jeopardy, since phronesis helps any person set and meet goals. (shrink)

James Matlock’s book, Signs of Reincarnation, is a recent addition to a seemingly endless stream of confused or superficial works on the topic of survival. Admittedly (and as one would expect), the case material is often of genuine interest. But when Matlock tries to make sense of that material, he demonstrates little grasp of the current state of the debate. Even worse, he seems unaware of the intellectually responsible strategies for challenging and criticizing positions opposed to his own. Since Matlock (...) criticizes what he says are my views throughout his book, and because this issue of the JSE features two comprehensive reviews of that book, I’ll focus only on the principal respects in which Matlock misdescribes my position and ignores the extended discussions I’ve provided, not only in Immortal Remains (Braude, 2003), but elsewhere (e.g., Braude, 2005a, 2005b, 2014a, 2014b, 2020), explaining the problems with the tired and flawed lines of reasoning he endorses. (shrink)

Nature & the seasons -- Outdoor pursuits -- The spirit of self-sufficiency -- The joy of fika -- The Nordic kitchen -- Healthy hedonism -- Design & home -- Kinship, conviviality & openness -- How to hygge-at a glance.

1. Setting the stage Dinda Gorlée’s seminal On Translating Signs explores translation of texts under the guise of ‘semio-translation.’ In her previous book, Semiotics and the Problem of Translation, Gorlée originally coined the term semiotranslation, which subsequently gained some notoriety in translation theory circles. She sees no need to give up the term, in fact including it in hyphenated form in the subtitle of the book under review. For, semio-translation ‘retains an ongoing excitement and creates a niche in semiotic and (...) translationtheoretical scholarship’. The author perpetuates its use with the hope that ‘it will remain a vital and fruitful challenge to future researchers everywhere, especially those who pay no mind to the noise of passing scholarly genres and fashions’. Thus OTS can be effectively read as a continuation of SPT. (shrink)

In a heart-wrenching TEDx Beacon Street talk entitled "A Journey Through Infertility: Over Terror's Edge", Camille Preston narrates her traumatic journey through infertility. Although she is now the mother of a child, Preston's characterization of infertility as "over terror's edge" and as "a journey" finds a graphic expression in Paula Knight's The Facts of Life, Emily Steinberg's Broken Eggs, and Phoebe Potts's Good Eggs. Unlike Preston, these authors do not give birth to a child; however, they authentically portray the (...) tribulations of infertility in their respective graphic memoirs. While Knight's memoir chronicles her traumatic experience of being an infertile woman in a society that... (shrink)

Is there such a thing as natural knowledge of God? C. Stephen Evans presents the case for understanding theistic arguments as expressions of natural signs in order to gain a new perspective both on their strengths and weaknesses. Three classical, much-discussed theistic arguments - cosmological, teleological, and moral - are examined for the natural signs they embody. At the heart of this book lie several relatively simple ideas. One is that if there is a God of the kind accepted by (...) Christians, Jews, and Muslims, then it is likely that a 'natural' knowledge of God is possible. Another is that this knowledge will have two characteristics: it will be both widely available to humans and yet easy to resist. If these principles are right, a new perspective on many of the classical arguments for God's existence becomes possible. We understand why these arguments have for many people a continued appeal but also why they do not constitute conclusive 'proofs' that settle the debate once and for all. Touching on the interplay between these ideas and contemporary scientific theories about the origins of religious belief, particularly the role of natural selection in predisposing humans to form beliefs in God or gods, Evans concludes that these scientific accounts of religious belief are fully consistent, even supportive, of the truth of religious convictions. (shrink)

While the political aspects of the interwar dystopias have received much attention, less focus has been given to the specific correlation to the economic thinking and developments of the period, in particular the prominence of economic planning. This article suggests that such a connection is significant by examining a key Swedish novel from the period, Kallocain, in relation to the early economic theory of the Scandinavian welfare state. The article then relates these findings to links between Brave New World and (...) the thinking of John Maynard Keynes. Finally, the kinds of critique articulated in these fictional works are centered around the citizens’ emotional and interior lives in new planned societies, and around their views on bad, disloyal, or painful feelings. (shrink)

This article discusses Alfred Jarry as a precursor of French modernism. With a particular focus on Messaline, Roman de l’ancienne Rome and Le Surmâle, Roman moderne, I analyse the subtle ways in which the past and the future are intertwined and Jarry’s philosophy of sexual excess. In both novels, the main characters seek a paroxysmal erotic pleasure from which they die after reaching world records in sex-making. Read together, the novels work to create a lemniscate, the symbol of infinity symbolically (...) represented, in modernism, by the speeding bicycle. In both novels, sexual excess leads to a superhuman transformation of women and men into a rigid phallus, underlying which is the fantasy of bisexualism. (shrink)

The Swiss linguist Ferdinand de Saussure has exerted a profound influence not only on twentieth century linguistics but on a whole range of disciplines within the humanities and social sciences. His central thesis was that the primary object in studying a language is the state of that language at a particular time – a so-called synchronic study. He went on to claim that a language state is a socially constituted system of signs that are quite arbitrary and that can only (...) be defined in terms of their relationship within the system. This new perspective has changed the way people think about linguistics and has led to important attempts to apply structuralist ideas in anthropology, literary criticism, and philosophy. Professor Holdcroft's book expounds and elaborates Saussure's central ideas. It also offers a critical assessment of them, arguing that many of Saussure's claims are either questionable or have been misunderstood. (shrink)

We are far removed, in this section of the Encyclopedia on memory, from the mnemotechnic icons described by Francis Yates in The Art of Memory and much closer to Augustine's advice about how to remember and to psalmodize Scripture. Memory, for Hegel, is the learning by rote of names, or of words considered as names, and it can therefore not be separated from the notation, the inscription, or the writing down of these names. In order to remember, one is forced (...) to write down what one is likely to forget. The idea in other words, makes its sensory appearance, in Hegel, as the material inscription of names. Thought is entirely dependent on a mental faculty that is mechanical through and through, as remote as can be from the sounds and the images of the imagination or from the dark mine of recollection, which lies beyond the reach of words and of thought[…]No wonder, then, that Hegel's Aesthetics turns out to be a double and possibly duplicitous text. Dedicated to the preservation and the monumentalization of classical art, it also contains all the elements which make such a preservation impossible from the start. Theoretical reasons prevent the convergence of the apparently historical and the properly theoretical components of the work. This results in the enigmatic statements that have troubled Hegel's readers, such as the assertion that art is for us a thing of the past. This has usually been interpreted and criticized or, in some rare instances, praised as a historical diagnosis disproven or borne out by actual history. We can now assert that the two statements "art is for us a thing of the past" and "the beautiful is the sensory manifestation of the idea" are in fact one and the same. To the extent that the paradigm for art is thought rather than perception, the sign rather than the symbol, writing rather than painting or music, it will also be memorization rather than recollection. As such, it belongs indeed to a past which, in Proust's words, could never be recaptured, retrouve. Art is "of the past" in a radical sense, in that, like memorization, it leaves the interiorization of experience forever behind. It is of the past to the extent that it materially inscribes, and thus forever forgets, its ideal content. The reconciliation of the two main theses of the Aesthetics occurs at the expense of the aesthetic as a stable philosophical category. What the Aesthetics calls the beautiful terms turns out to be, also, something very remote from what we associate with the suggestiveness of symbolic form.Paul de Man, Sterling Professor of the Humanities at Yale University, is the author of Blindness and Insight and Allegories of Reading and is currently completing a book tentatively titled The Resistance to Theory. His previous contributions to Critical Inquiry are "Political Allegory in Rousseau", "The Epistemology of Metaphor", and "A Letter". (shrink)

James Matlock’s Signs of Reincarnation discusses important issues related to the belief in reincarnation. These include the historical and social prominence of this belief in various cultures around the world, especially its place in spiritual and religious communities. Matlock also explores data seemly suggestive of reincarnation and attempts to develop a theory of reincarnation that can account for the data collected by parapsychological investigators and researchers. In this way, Matlock aims to show that belief in reincarnation is defensible as a (...) conclusion drawn from what he calls “signs” of reincarnation. Matlock does a good job mapping out the wide range of beliefs about reincarnation across time and culture. His description of various case studies and their salient features is highly informative. And his effort to develop a theory of reincarnation—what he calls a “processual soul theory”—is a laudable attempt at trying to accommodate the various details of interesting case studies and a core idea of reincarnation in the spiritual traditions of the world. Unfortunately, this is where my praise ends. Like many other books on the topic, Matlock’s book suffers from a variety of serious defects. The cavalcade of poor scholarship, conceptual confusion, and impoverished argumentation is particularly egregious given that Signs is allegedly based on the lecture notes for Matlock’s course on reincarnation pitched at the advanced undergraduate or Masters-level graduate seminar. In what follows, I’ll explain why Matlock’s book is paradigmatic of nearly everything that’s wrong with survival research over the past thirty years. (shrink)

This engaging book examines the origins and first effects of the concept ‘legal semiotics’, focusing on the inventor of the term, Roberta Kevelson. It highlights the importance of her ideas and works which have contributed to legal theory, legal interpretation and philosophy of language. Kevelson’s work is particularly relevant today, in our world of global electronic communication networks which rely so much on language, signs, signals and shortcuts. Kevelson could not have foreseen the 21st century, yet the story of her (...) work and influence deserves more attention as it is key to our understanding of modern legal discourse and why law fascinates and is accepted in modern society. The authors draw on Kevelson’s hitherto unknown Office Papers and Notes, and a biographical examination points to key influences in her work such as the early feminist movements of the US East Coast, the philosophy of Charles Sanders Peirce and the semiotics of Thomas Sebeok. This forms the basis for a more encompassing research of Kevelson’s position, work and philosophical background, which the authors call for. A quick and enlightening read, this book interests a wide range of readers with an interest in legal history and the fields which Kevelson both drew on and influenced, including lawyers, students and scholars. (shrink)

"Timed to publish in advance of the Joker sequel Joker: Folie a Deux, the volume will have at least two sections will be dedicated to chapters that take up questions raised by 2019's Joker and the Todd Phillips depiction in general. Chapters will also be sought on the many other iterations of the Joker. A number of high-profile philosophers have already written insightful pieces on Joker and the volume editors hope to solicit new essays from some of them. Joker is (...) a symbolically rich and philosophically fascinating character. With his enigmatic motivations, infectious irreverence, and almost selfless devotion to evil, Joker's psychology is a puzzle that provokes a host of philosophical questions, ranging across issues of morality, human nature, the metaphysics of freedom, the nature of evil, political and social philosophy, aesthetics, and more"--. (shrink)

Since the revolution in philosophic method that began about a century ago, the focus of philosophic attention has been on language as used both in daily conversation and in specialized institutional activities such as science, law, and the arts. But language is an extremely complex and varied means of communication, and the study of it has been increasingly incorporated into such empirical disciplines as linguistics, psycho linguistics, and cognitive psychology. It is becoming less clear what aspects of language remain as (...) proper subjects of philosophical study, what are to be "kicked upstairs" (J. L. Austin's phrase) to the sciences. This work is a study of those logical features of language that remain central to philosophy after completion of kicking up. It conducts this study by describing similarities and differences between signs at differing levels, starting with natural events as primitive signs in the environments of their interpreters, and proceeding to pre linguistic signaling systems, elementary forms of language, and finally to the forms of specialized discourse used within social institutions. The investiga tion of comparative features requires isolating basic mental capacities that are present in the most primitive forms of organisms capable of sign interpretation. The problem then becomes one of tracing the emergence from these capacities of such categories as substance, attribute or quality, and quantity that we apply to natural languages. The study of sign levels is thus the construction of a genealogy of logical categories marking the develop ment of natural languages. (shrink)

This book tells the story of how 18th-century European philosophy used Locke's theory of signs to build a natural history of speech and to investigate the semiotic tools with which nature and civil society can be controlled. The story ends at the point where this approach to language sciences was called into question. Its epilogue is the description of the birth of an alternative between empiricism and idealism in late 18th- and early 19th-century theories of language. This alternative has given (...) rise to such irreducible dichotomies as empirical linguistics vs. speculative linguistics, philosophies of linguistics vs. philosophy of language. Since then philosophers have largely given up reflecting on linguistic practice and have left the burden of unifying and interpreting empirical research data to professional linguists, limiting themselves to the study of foundations and to purely self-contemplative undertakings. The theoretical and institutional relevance to the present of the problems arising from this situation is in itself a sufficient reason for casting our minds back over a period in which, as in no other, linguistic research was an integral part of the encyclopaedia of knowledge, and in which philosophers reflected, and encouraged reflection, upon the semiotic instruments of science and politics. (shrink)

Extending narratological analysis to media as varied as graphic novels, photography, television, musicals, computer games and advertising, the essays gathered in this volume address some of the most fundamental questions raised by the medial turn in narratology: how can narrative meaning be created in media other than language; how do different types of signs collaborate with each other in so-called multimodal works; and what new forms of narrativity are made possible by the emergence of digital media.".

In the Posterior Analytics Aristotle contrasts demonstrations with syllogisms through signs. In the Prior Analytics he defines a sign as a demonstrative premise. One is thus led to ask: is a sign a demonstration? This book reconstructs the history of the notion of "demonstration through signs" from roughly the third through to the thirteenth century. It examines the work of Aristotle's Greek, Arabic, and Latin commentators, both within and outside the tradition of the Posterior Analytics.

This paper presents a critical interpretive synthesis of research on the efficacy of comics in educating consumers on communicable diseases. Using this review methodology, the authors drew from empirical as well as non-empirical literature to develop a theoretical framework exploring the implications of comics’ combination of images and text to communicate this health promoting information. The authors examined selected works’ alignment with the four motivational components of Keller’s ARCS Model to evaluate research within the context of learner motivation. Findings of (...) this research indicate comics offer a useful method for providing consumer health education, particularly regarding topics that individuals may have difficulty in discussing openly. (shrink)

INTRODUCTION HOW DIFFERENT — HOW DOWNRIGHT INCONGRUOUS — the philosophical essays and the ad hoc, primarily political observations which make up this volume ...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Heroic Virtue, Comic Infidelity: Reassessing Marguerite de Navarre’s HeptaméronG. Mallary MastersHeroic Virtue, Comic Infidelity: Reassessing Marguerite de Navarre’s Heptaméron, by Dora E. Polachek; 170 pp. Amherst: Hestia Press, 1993, $19.00.The volume of essays edited by Professor Polachek represents one of the most attractive collections of symposium papers I have seen in recent years. Attractive to see and to read, it contains a variety of approaches dealing (...) with a timely topic, the “feminine” perspective of a sixteenth-century French collection of novellas within the framework of a “romance” written by a female author. Professor Polachek has masterfully edited the materials, grouping them by subject and giving her readers a text remarkably clean of typographical errors. Her introduction gives a review, as it were, a critical evaluation of the contents. The reader who wishes a more detailed synopsis of the studies in the volume may consult it to advantage.Building upon the historic reference implicit in the introduction, “The Heptaméron Then and Now,” the first group of essays by Robert D. Cottrell, Robert Melançon, and Judy Kem appear in the section entitled “Locus Amænus: Setting the Stage.” They provide background setting for the two groups that follow. Articles by Patricia Francis Cholakian, Carla Freccero, Jeffery C. Persels, and François Paré deal with the topic “Heroic Virtue: Signaling Crisis.” Gary Ferguson, Paula Sommers, Jerry C. Nash, and Dora E. Polachek conclude the volume’s third part with the theme “Engendering Laughters: Men Mocked.”The Amherst conference on Marguerite proved, of the three I attended, the most varied in theme, in critical approach, and in openness of discussion. It produced an outstanding volume of essays: timely, imaginative, qualitative, and even provocative. Colloquium implies dialogue, and dialogue means dialectic, open debate of divergent opinions. And yet, even as Marguerite herself would [End Page 150] wish it, the total experience is one of harmony, the sounding together in unison of the divergent themes, the seemingly discordant approaches that parallel the different voices created by one of the great sixteenth-century female authors of the French Renaissance. In her edition of the conference, Professor Polachek has succeeded very well in presenting a coincidentia oppositorum of the sometimes discordant opinions of Marguerite’s critics whose divergent points of view contribute to our better understanding of her too often underestimated text.The volume will prove very useful for students of Marguerite at all levels of inquiry, as it permits exposure to many different critical approaches to the text and provides additional bibliography such that readers may pursue their own interests and serious research on the subject by looking into the best of Marguerite criticism of the last decades and, indeed, of the last two centuries. The studies contained in it propel us back to the beginnings, so to speak, of Marguerite criticism, bring us up to date in terms of the most recent approaches, and move us forward through the setting of new directions and standards for future research.G. Mallary MastersUniversity of North Carolina, Chapel HillCopyright © 1995 The Johns Hopkins University Press... (shrink)