The article is devoted to the exhibition and creative activities of representatives of the Juelan Society and figures of Soviet unofficial art – a comparative analysis allows us to see common points regarding the choice of artistic means and techniques, themes and motives, the fate of creative associations. The purpose of the article is to determine the similarities and differences of the process of the origin of unofficial art in China and Soviet Russia. The author's field of attention (...) includes identifying similarities in the choice of genre, composition, artistic means, as well as the semantic content of the images revealed in the works of artists. It is important for the disclosure of the topic to determine the features and common features in the organization of creative activity and communication between members of artistic associations. The study concluded that Chinese and Soviet figures of unofficial art rallied around small associations, "circles", clubs, societies, offering an alternative to the official and, from their point of view, regressive art view of independent creativity. The artists of the Juelan Society sought to instill a modernist vision in Chinese culture, and Soviet conformists decades later developed their own understanding of contemporary art. Their attempts had a strong influence on the work of Chinese painters of subsequent generations and became a phenomenon in the art of their countries, still have an impact on its development. Their ideas and creative findings are the sources of the processes that take place in the artistic worlds that cooperate in the field of culture of Russia and China. (shrink)

It is about analyzing the connection between just memory, narration and art, using an approach that mixes philosophy and visual arts. We will start from the perspective of the French philosopher Paul Ricoeur on fair memory, presented in his work Memory, History, Oblivion (2000), according to which there is an institutionalized ideologization of memory in which narrations are silenced or distorted by the so-called official history. In the process of recovering fair memory, these narratives need to be heard, recognized and (...) valued, deconstructing abusive mechanisms that silence them with the aim of producing oblivion or that manipulate them involve distorting the facts to benefit hegemonic discourses. Next, we will discuss how the myth of Brazilian racial democracy is an example of institutionalized ideologization of memory, considering mainly the reflections of Brazilian philosophy Sueli Carneiro in Device of raciality (2023). Finally, we will show how Elian Almeida's pictorial counter-narratives, especially the Vogue series (2020), work to strengthen and disseminate unofficial narratives about Brazil that have been suffocated by official history. (shrink)

The Middle East Summit is the unofficial name for a series of meetings between several key figures from the Middle Eastern art world and it was proposed here that a Picasso from the collection of the Van Abbemuseum be brought to Palestine. The meaning of Picasso’s Buste de femme crossing this non-place, is here brought to light.

It is not well known that in the context of the unofficial artistic and philosophical scene of the ČSSR there was an aesthetically refined and theoretically differentiated reflection on the different degrees and limits of visibility as well as a rethinking of participation – be it aesthetic, epistemic or political. In this paper I first investigate the relation between history and (in)visibility in its broadest sense: questions such as ‘whose history is present’ and ‘what visual memory building strategies are (...) used’ were highly controversial and deeply politicised. For many artists and philosophers such as Zorka Ságlová or Jan Patočka the very act of remembering and the active, critical engagement with (visual) culture and history thus became an act of resistance. I then explore how artists subtly intervened in and transformed the monitored public space, and often tried to undermine given regimes of visibility. I demonstrate that these manifold ‘dissident’ practices engendered new aesthetic experiences and fostered powerful counter-narratives that deconstructed the official propaganda discourse of the communist regime. (shrink)

In official and unofficial histories, and in cultural memorializations of the 1971 war for Bangladeshi independence, the treatment of women's experiences—more specifically the unresolved question of acknowledgment of and accountability to birangonas, “war heroines” —has met with stunning silence or erasure, on the one hand, or with narratives of abject victimhood, on the other. By contrast, the film Meherjaan revolves around the stories of four women during and after the war, and most centrally the relationship between a Bengali woman (...) and a Pakistani soldier. In this article, I investigate the anxieties underlying the responses to Meherjaan, particularly in association with themes of trauma—its absence or omnipresence—to nonnormative gender frames of national sexuality, and the notion of loving the Other. Drawing from feminist theories of vulnerability, ethics, and love, I want to explore these themes at two levels: the political message the film transmits, and its aesthetic choices and affects. Finally, I want to comment on the potential of this film, as feminist art, in furthering a dialogue around healing and ethical memorialization in relation to 1971 in Bangladesh. (shrink)

This article describes a logic of distinction and succession within the late-twentieth-century Leningrad-St. Petersburg cultural field, whereby consecutive intelligentsia mainstreams were replaced by their avant-garde peripheries. In this dynamic picture of socio-cultural transformations, I propose a working hypothesis of a repeated stratification of the field into an ‘official’, an ‘unofficial’, and a third ‘non-aligned’ intelligentsia. This hypothesis is tested in reference to the ‘non-aligned’ groups founded by the avant-garde artist and ideologue Timur Novikov (1958–2002). Three major shifts are described: (...) from the politicized late-Brezhnevite early 1980s to the apolitical radicalism of Novikov’s New Artists; from this anarchistic underground, through the perestroika era, to the playful ‘classicism’ of the New Academy of Fine Arts in the 1990s; and from this postmodern international orientation to an arch-reactionary, neo-imperial posturing at the turn of the 2000s. Lastly, this ‘non-aligned’ intelligentsia is suggested as a possible precedent, or, indeed, a model for understanding other historically significant avant-garde peripheries, which commonly seek to distinguish themselves from (often mutually-exclusive) centres. (shrink)

_Sigmund Freud and His Impact on the Modern World_, volume 29 of The Annual of Psychoanalysis, is a comprehensive reassessment of the influence of Sigmund Freud. Intended as an unofficial companion volume to the Library of Congress's exhibit, "Sigmund Freud: Conflict and Culture," it ponders Freud's influence in the context of contemporary scientific, psychotherapeutic, and academic landscapes. Beginning with James Anderson's biographical remarks, which are geared specifically to the objects on display in the Library of Congress exhibit, and Roy (...) Grinker Jr.'s more personal view of Freud, the volume branches out in various directions in an effort to comprehend the multidimensional and multidisciplinary richness of Freud's contribution. In section II, we find authoritative summaries of Freud's scientific contributions, of his continuing impact as a thinker, of his notion of symbolization in the context of recent neuroscientific findings, and of his status as a "cultural subversive". In section III, contributors hone in on more specific aspects of Freud's legacy, such as an experimental method to review how Freud's idea of childhood sexuality has fared and a look at the women who became analysts in the United States. In the concluding section of the volume, contributors turn to Freud's influence in various humanistic disciplines: literature, drama, religious studies, the human sciences, the visual arts, and cinema. With this scholarly yet highly accessible compilation, the Chicago Institute provides another service to its own community and to the wider reading public. Sure to enhance the experience of all those attending "Sigmund Freud: Conflict and Culture," _Sigmund Freud and His Impact on the Modern World_ will appeal to anyone desirous of an up-to-date overview of the man whose work shaped the psychological sensibility of the century just past and promises to reverberate throughout the century just born. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bilingual Aesthetics:A New Sentimental EducationJane DuranBilingual Aesthetics: A New Sentimental Education, by Doris Sommer. Durham and London: Duke University Press, 2004, 254 pp.Doris Sommer's new work Bilingual Aesthetics is the sort of book that takes one by surprise—and for good reason. Filled with punning twists, and itself a valorizer of word games and magic, this work has not a lot to do with bilingualism (in the standard sense), not (...) a lot to do with aesthetics (again, in the standard academic sense), but a great deal to do with both. Whether the title is read (and Sommer's point is to forward the notion of alternate readings) as the aesthetics of bilingualism or as an account of what a bilingual might make of aesthetics, there is a startling amount of content in the work.Briefly, Sommer essays to make the case that our multicultural society is distinctly better off for being multicultural and multilingual (or at least, in some threatening sense, emergently bilingual) because the literal bilingual has a distinct advantage over her or his monolingual counterpart. The bilingual can play language games, and those games shock, amuse, or jolt—whatever it is that they do, they rouse us out of any state of intellectual torpor into which we might have fallen and they serve to make us all individuals who, in Du Bois' memorable phrase, have "double consciousness."Thus Sommer does in fact mean for her title to be read in at least two ways: Her work attempts to valorize and vindicate a sort of unofficial bilingualism (one of the blurbs on the back of the paperback edition begins by saying "Knowing a second language entails some unease... "), while she also attempts to let us in on the notion that there is an aesthetic that develops from the use of more than one code. Sommer plays remarkably on all these concepts: She is familiar with the standard, overt scholarship on bilingualism—she can cite work by sociolinguists and others. At the same time, as an author known for previous work on literature, especially with regard to Latin America, she is also familiar with much of the standard historical work in aesthetics, including Kant. Citing thinkers such as Kenji Hakuta, William J. Bennett, Wittgenstein, and Elena Poniatowska, Sommer leaves the reader somewhat bedazzled and breathless but better off for having read her work.Her overall thesis, if one may attempt to employ such a phrase, is that bilingualism and code-switching create for us the same sort of uneasiness and inevitable access to the unconscious that works of art and literature produce—and that the edginess that is a concomitant of code-switching is beneficial. Her first chapter "Choose and Lose" reminds Americans that the United States has always been a multilingual place and focuses on how much can be gained from attempting to forward the notion. If there is any difficulty to Sommer's work, it is that she practices what she preaches. Every page demands much of the reader, since every page itself engages in the [End Page 121] sort of rapid-fire twisting and switching that Sommer is trying to support as the ground for a new aesthetic consciousness.Early on, Sommer gives us the following:Complaints about the danger to national coherence [of multi- or bilingualism] can be downright funny.... [One irate journalist wrote:] "How can immigrants identify with America if they can't read Lincoln's words in the language in which they were spoken?(out of many, one) to a multicultural boarding house,...?" No need to be upset at this harangue. It's obviously a joke, even if the author missed it (a common asymmetry in bilingual humor). Notice that the translation from Latin assumes that English-only citizens don't understand the very slogan they hold dear.(p. 26)But of course the joke is to some extent on Sommer and on all of us, as she no doubt intends. It is highly unlikely that the journalist did get the humor, and the only funny part of the entire tirade is that we—assuming we have enough formal education—may be able to make something out of it... (shrink)

By observing the mediating role of Pomarańczowa Alternatywa [Orange Alternative], the Polish artistic-activist formation of the 80s and 90s, this paper aims to determine the properties, values and ideals that make a piece of art a public act that can engage people from different social groups in play, and can allow them to reveal their self-determining agency in light of social change. Within the system of varying degrees of social permission, art should allow for the transition from the realm of (...) the “unofficial” to the realm of the “forbidden,” and should facilitate a transformation from the realm of thought to the realm of action. Art introduces an element of play into the sphere of collective behavior, and is a bridge over dichotomous social and political forces. (shrink)

This article, which introduces the special section on The Urban Problematic, takes as its starting point the ways in which categories associated with the ‘urban’ have broken down, such that the once singular and coherent concept ‘city’ has disintegrated in certain ways: the notion has been demythologized, so that representations of the city must now be regarded as partial and invested; and cities themselves have become opaque and unpredictable both to urban scholars and to governments, planners and various kinds of (...) welfare organizations. The indications of crisis, captured for instance by concerns about the slums, favelas and shanty towns of the world’s megacities, also indicate that much of what counts in modern urban life is in some way connected with the marginal, the unofficial, and the supplemental. The article takes a supplemental view of the current state of urban dwelling. This involves at the same time a longer, more patient, historical view in its attempt to understand the current state of the city as part of a shift in the play of heterogeneous forces. With reference to the articles contained in The Urban Problematic, this introductory article finally draws attention to some of the urgent and critical issues of contemporary urbanism. (shrink)

In 1791, the Loi relative aux découvertes utiles instituted a new patent system in France. Because patents were seen as the expression of the natural right of inventors, prior examination was abolished. However, only a few years after the law was passed, an unofficial examination was reinstated, and it was entrusted to the Comité Consultatif des Arts et Manufactures – a consultative body composed of prominent scientists. I analyze the political significance of the involvement of the savants in the (...) patent system, and based on the archives of the Comité, I study the scope and practicalities of the examination process, paying close attention to the ways through which the savants of the Comité directly intervened in the writing and drawing of specifications. I show how a distinct regime of intellectual property emerged in France and how it was constructed by the interests and norms of scientists, eager as they were to distinguish ‘science’ from ‘industry’ and establish the superiority of the former over the latter. (shrink)

The geohistorical disjunctures between Hong Kong—colonial territory, global city, and special administrative region—and China challenge understandings of the relationship. Hong Kong officially maintains certain core values that differ from those of the People’s Republic of China, while unofficial Chinese Communist Party united-front activity in Hong Kong has arguably narrowed the range of the sayable, in Jacques Rancière’s terms, in the public sphere. How does this admixture of core values, at turns antithetical and contested, appear in the space and time (...) of Hong Kong? Interventions in the ideational dynamic between the city and the state—through images, utterances, performances, and alternative artworks—produce space for the appearance of subjects defined by the people. Not a postcolonial culture of disappearance but an ontology of politics where spaces of disagreement make apprehensible that which is politically unsayable. During the decade before the Umbrella Movement, in a fervent aesthetics of politics at the crossroads of hurtling urban transformation and accelerating illiberal governance, alternative art in Hong Kong populated social-movement activity with claims on public space and the possibilities of the people in the sightlines of a democratic future. (shrink)

“Ovid’s Old Age” is a sung poem written by the Polish poet and musician Jacek Kaczmarski which engages with the myth of Ovid’s exile. Kaczmarski’s works were heavily influenced both by classical culture and his experience of political emigration during the communist era. He was famed as an unofficial bard of the opposition movement, but is as yet little known to classical reception scholars. This paper presents Kaczmarski’s creative engagement with Ovid as both a deeply personal reflection on the (...) nature of exile and at the same time a universal commentary on poetry under authoritarian regimes. Our interpretation is based on a thematic analysis of the poem, including landscape, imperialism, displacement, “national” poets in exile, nostalgia, and the force of poetry. We set the reception in its social, political, and biographical context, with reference to several mediating receptions of the Ovidian exile. In Kaczmarski’s poem, the Ovidian voice helps the poet to express the trials of emigration and reveals their effect on his art. It shows how engagements with classical culture may flourish, even while the formal discipline of Classics has been undernourished. We provide a bilingual translation of “Ovid’s Old Age” to foster the understanding of migratory experiences in contemporary poetry and enrich international scholarship on the reception of Ovid with a response from communist Poland. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Seven Poems NICOLAS CALAS (Translated by Avi Sharon) hellenizing surrealism: a greek door to europe Nicolas calas (Kalamares) may be considered merely a minor Greek poet, but he had a major global persona and influence. In the middle of the last century he played a catalyzing role in the international avant garde: He was a Zelig-like polemicist in three languages (Greek, French, and English) and across three cultural (...) capitals (Athens, Paris, and New York). But he always fought on a singular front: surrealism. Born in Lausanne in 1907, he grew up in Athens and by the later 1920s began to stand out in literary circles (he was over 6' 4") for his modernist if not revolutionary views. Starting from an interest in Freud and Marx, the subconscious and the revolutionary, Calas soon arrived at their natural synthesis—surrealism. Around the time when a distinctly Greek form of surrealist poetry emerged, with the 1935 publication of “Blast Furnace” by Andreas Embiricos, Calas was on his way to becoming its unofficial spokesman. He moved to the epicenter of the movement in Paris and with the 1938 publication of Foyers d’Incendie became the “most lucid and audacious” of founder André Breton’s acolytes, both prophet and demagogue of the group. Carried along in the current of European artists and thinkers leaving Europe for New York, he would continue the fight on the western wing of the faction (literally, coming to blows at a cocktail party with Clement Greenberg, representing the opposing Abstract Expressionist side). In 1942 he published another clarion pamphlet, Confound the Wise, giving the movement voice in English and befriending its most visible local supporters and practitioners, from Peggy Guggenheim to Marcel Duchamp. arion 27.1 spring/summer 2019 The Wyndham Lewis of the operation, Calas was a cross-border catalyst, evangelizing the role of surrealism as a liberating and generative force in modern literature and art. For him and other writers and poets, the weapon that would most effectively derange the reader’s habitual conformism into revelatory and revolutionary perception was the surrealist image, poetry’s lingua franca. For Greek practitioners it was completely natural for that magical representation to arise out of their god-infested, sun-filled landscape. Here they had a force that was both blinding and enlightening, penetrating and transformative, local and universal. For Calas, the primary echo or reflection of that essential image was the island of Santorini, referenced in several of the translations here (and reminiscent of his fellow national Nikos Gatsos’s use of the island of Amorgos in a similar context). It stood as the very symbol of fiery transformation, an image monstrous enough to shock the reader into a super-rational embrace of its own form of logic. This Hellenization of surrealism, like the Hellenization of modernism itself, was to become an important, transformative power in its own right. For many, the origin (and likewise, for many, the enclosing border ) of surrealism was France. “But it is French. It is their invention,” was how William Carlos Williams saw it, to his chagrin. Williams was convinced that the objective concentration on the image itself (“no ideas but in things”) could offer a salutary corrective to American poetry of his time. “It is the surrealists who have invented the living defense of literature,” he wrote in a 1929 essay. But for a poet so at one with the American Grain to be reconciled with surrealism’s ‘Francite’ he needed some way to cross the divide. His admiration for Calas’s work in clarifying and promoting the group’s ideas enabled the Greek poet to serve as a mediator, to allow the creative transference of its rebellious wisdom into Williams’s poetry. To borrow the title of one of his early American essays, Calas provided Williams a “Greek door to Europe.” In translating four of Calas’s French poems into English, published in 1941 with a frontispiece by the surrealist painter and magician Kurt Seligman, Williams leveraged Calas as the vehicle through which the “enabling foreignness” of surrealism could be grafted into the grain of his American modernist work, just as he set out on his magnum opus, Paterson. In a similar way... (shrink)

Large increases unofficial economies in many transition economies arise from a dynamic interaction with rising income inequality and public sector changes in multiple equilibria system. Returns to unofficial activity are first increasing and then decreasing, implying two distinct stable equilibria, with changes in inequality possibly causing a jump from one to the other. Multiple regressions of data from 18 transition economies find income inequality significantly correlated with the size of the unofficial economy, with the maximum annual rate (...) of inflation also significantly correlated. The latter appears to be the only significant correlate with the increase in the size of the unofficial economy. (shrink)

In the editor's notes, King explains students of color desire for social studies education that speaks to their humanity. He introduces the articles in this special issue and defines unofficial and unconventional social studies spaces. He also argues for a more complete social studies education that helps the field understand other places where social studies is performed.

Mass media has a significant impact on public support for the government. This manuscript constructs a mixed model with official media use as the moderating variable and government trust as the intermediary variable to explore the mechanism of how unofficial media use affects system confidence, using data from a survey of the political and social attitudes of netizens. The study finds that official media use weakens the negative role of unofficial media use in building system confidence, with the (...) intermediary variable of government trust creating the necessary conditions for weakening the effect of unofficial media use. Moreover, the effect of unofficial media use on system confidence is heterogeneous. These findings remind us that it is necessary to deepen research into the micromechanisms that explain how unofficial media use reduces system confidence, a task for which cognitive theory is well suited. (shrink)

Theories postulating saltational evolution are a necessary consequence of essentialism. If one believes in constant types, only the sudden production of a new type can lead to evolutionary change. That such saltations can occur and indeed that their occurrence is a necessity is an old belief. Almost all of the theories of evolution described by H. F. Osborn in his From the Greek s to Darwin were saltational theories, that is, theories of the sudden origin of new kinds. The Darwinian (...) revolution did not end this tradition, which continued to flourish in the writings of Thomas H. Huxley, William Bateson, Hugo De Vries, J. C. Willis, Richard Goldschmidt, and Otto Schindewolf. Traces of this idea can even be found in the writings of some of the punctuationists. (shrink)

tephen Jay Gould's Wonderful Life: The Burgess Shale and the Nature of History , has become something of a watershed for those who study contingency and complexity, especially applied to organisms, societies, and history, and discussions of it can be found in many works. Walter Fontana and Leo Buss, for example, ask in the title of their chapter "What Would Be Conserved If 'The Tape Were Played Twice'?" This is a direct reference to Gould's suggestion in Wonderful Life that if (...) the tape of life were rewound to the time of the organisms found in the Canadian outcrop known as the Burgess Shale, dated to about 530 million years ago, and replayed with a few contingencies tweaked here and there, humans would most likely never have evolved. (shrink)

or reasons that seem to transcend cultural peculiarities, and may lie deep within the architecture of the human mind, we construct our descriptive taxonomies and tell our explanatory stories as dichotomies, or contrasts between inherently distinct and logically opposite alternatives. Standard epitomes for the history and social impact of science have consistently followed this preferred scheme, although the chosen names and stated aims of the battling armies have changed with the capricious winds of fashion and the evolving norms of scholarship—as (...) in scientific novelty versus permanent wisdom in the founding 17th-century debate of "moderns" (the empirical method for gaining new knowledge) versus "ancients" (Greek and Roman perfection)[1]; science versus religion in a favorite trope of late 19th-century secularism[2]; and the sciences versus the humanities in the icon for the second half of the 20th century, C. P. Snow's "two cultures"[3]. (shrink)

In 1935, a group of mathematical statisticians in the United States announced the founding of a new professional organization, the Institute of Mathematical Statistics. In the coming years, this institution became a significant source of support for the growing community of mathematical statisticians. Thus it would seem that the formation of the Institute marked the beginning of the process of the creation of that community. This paper, however, argues that those who initially participated in the Institute constituted a small, loosely (...) organized, but wellconnected group within the broader scientific world even before they joined together formally to promote their discipline. We will examine some aspects of their education, employment, and interests in order to determine how American mathematical statisticians set themselves apart from other scientists and helped to define their discipline before the community acquired its official status. (shrink)

August, John Review(s) of: Contempt of court: Unofficial voices from the dogs Australian high court case 1981, by Jean Ely, Dissenters Press, West Melbourne 2011 $29.95.

n the pioneering days of radio, my grandfather's job was to lecture to young engineers who were joining Marconi's company. To illustrate that any complex wave form can be broken down into summed simple waves of different frequencies (important in both radio and acoustics), he took wheels of different diameters and attached them with pistons to a clothesline. When the wheels went round, the clothesline was jerked up and down, causing waves of movement to snake along it. The wriggling clothesline (...) was a model of a radio wave, giving the students a more vivid picture of wave summation than mathematical equations could ever have done. (shrink)

little more than a year ago, I participated in a meeting, organized by the National Academy of Sciences , on the subject of enhancing public understanding of science by encouraging greater collaboration between scientists and the media. Most of the scientists present were members of the academy, which serves both as an elected honor society and as an official adviser on science policy to the U.S. government. Across the room I spotted a slim man who seemed somehow familiar. His deliberate (...) movements suggested an inner passion concealed beneath a subdued exterior. When I came close enough to read his name tag, I saw that he was the famous astronomer Carl Sagan, whom I had corresponded with but never met. (shrink)

Every naturalist who has directed his attention to the subject of the geographical distribution of animals and plants, must have been interested in the singular facts which it presents. Many of these facts are quite different from what would have been anticipated, and have hitherto been considered as highly curious, but quite inexplicable. None of the explanations attempted from the time of Linnaeus are now considered at all satisfactory; none of them have given a cause sufficient to account for the (...) facts known at the time, or comprehensive enough to include all the new facts which have since been, and are daily being added. Of late years, however, a great light has been thrown upon the subject by geological investigations, which have shown that the present state of the earth and of the organisms now inhabiting it, is but the last stage of a long and uninterrupted series of changes which it has undergone, and consequently, that to endeavour to explain and account for its present condition without any reference to those changes (as has frequently been done) must lead to very imperfect and erroneous conclusions. (shrink)

arly in December of 1981, the federal courtroom in Little Rock, Arkansas, was packed. It was the first week of a trial brought on by the American Civil Liberties Union to challenge the constitutionality of a state law passed earlier that year. The law mandated "balanced treatment," in the publicly supported schools, between evolutionary ideas and so-called Creation Science, better known as the early chapters of Genesis taken absolutely literally (Ruse 1988). By the end of the third day, the case (...) for the plaintiffs was going well. Theologians had testified that Christianity had long interpreted the Bible metaphorically; a philosopher (me!) had argued that Creation Science fails every criterion of demarcation between science and pseudo-science; and the scientists were pointing to error after error in the claims of the literalists. (shrink)

I show that any sentence of nth-order (pure or applied) arithmetic can be expressed with no loss of compositionality as a second-order sentence containing no arithmetical vocabulary, and use this result to prove a completeness theorem for applied arithmetic. More specifically, I set forth an enriched second-order language L, a sentence A of L (which is true on the intended interpretation of L), and a compositionally recursive transformation Tr defined on formulas of L, and show that they have the following (...) two properties: (a) in a universe with at least [HEBREW LETTER BET] $_{n-2}$ objects, any formula of nth-order (pure or applied) arithmetic can be expressed as a formula of L, and (b) for any sentence $\ulcorner \phi \urcorner$ of L, $\ulcorner \phi^{Tr} \urcorner$ is a second-order sentence containing no arithmetical vocabulary, and nth $\mathcal{A} \vdash \ulcorner \phi \longleftrightarrow \phi^{Tr} \urcorner$. (shrink)

This article examines how distrust drives exchange. We propose a theoretical framework integrating the literature of trust into cultural sociology and use a case of patients giving hongbao (red envelopes containing money) to doctors in China to examine how distrust drives different forms of unofficial exchange. Based on more than two years’ ethnography, we found that hongbao exchanges between Chinese patients and doctors were, ironically, bred by the public’s generalized distrust in doctors’ moral ethics. In the absence of institutional (...) assurance, Chinese patients drew on the cultural logic of particularism and its associated cultural repertoire to induce fidelity from their physicians. They mobilized interpersonal networks to function as assurance and presented hongbao as a return of favor to the doctors. This form of exchange is gifting-oriented. Alternatively, if there were no interpersonal networks to rely on, they proactively offered hongbao to doctors at arm’s length in an attempt to personalize the relationship to seek assurance and abate their anxieties. This form of exchange is bribery-oriented. Both forms of exchange co-existed when there was one-way generalized distrust manifested from patients to doctors. When doctors also developed generalized distrust in patients, arm’s length exchanges declined, leaving embedded exchanges as the dominant form. Our study asserts the central role of culture in constituting exchange behaviors and the importance of institutions in shaping the form of exchange. It contributes to the midrange theory of trust, generating a number of hypotheses for future research on the relationships among culture, institutions, distrust, assurance, and illicit exchange. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Thomas Aquinas and Karl Barth: An Unofficial Catholic-Protestant Dialogue ed. by Bruce L. McCormack and Thomas Joseph WhiteFrederick Christian BauerschmidtThomas Aquinas and Karl Barth: An Unofficial Catholic-Protestant Dialogue. Edited by Bruce L. McCormack and Thomas Joseph White, O.P. Grand Rapids, Mich.: Eerdmans, 2013. Pp. viii + 304. $36.00 (paper). ISBN: 978-0-8028-6976-0.The essays collected in Thomas Aquinas and Karl Barth: An Unofficial Catholic-Protestant Dialogue are the (...) fruit of a conference held at Princeton Theological Seminary in 2011. As presented in this volume, they form five pairs, one each by a Catholic and a Protestant theologian, focused on the topics of (1) the being of God, (2) the Trinity, (3) Christology, (4) grace and justification, and (5) election, providence, and natural law. Thomas Joseph White provides a lengthy introduction, and Bruce McCormack concludes with a brief epilogue. All of the essays at least touch on both Barth and Thomas, though in varying degrees. It must be noted that, with the exception of the essays by White and Wawrykow, the Catholic interlocutors generally engage Barth less deeply than the Protestant interlocutors engage Thomas. Why this might be the case is a point to which I will return.Under the topic of the being of God, Robert Jenson begins with a brief, reflective essay focusing on the radical implications of Barth’s account of God’s “being” or “reality” as “event,” “I,” and “decision” (Ereignis, ich, Entscheidung), and on the content of God’s essence as “the loving One.” Jenson argues that if we follow Barth’s trajectory, we arrive at the paradoxical view that “God’s being is an implosion of freedom, so sheerly contingent that it is not contingent on anything and so is the one necessity. And it is an explosion of love, so sheerly a commitment to the other that it is freedom” (51). Thomas gets only a brief mention, though presumably he stands as the conventional account of God’s being that provides the background against which the true radicalism of Barth’s account can appear. Richard Schenk offers a Catholic counterpoint, engaging not so much with Barth himself as with Jenson and other post-Barthian thinkers such as Ebeling. His essay responds to Jenson’s paradoxes of imploding freedom and exploding love by educing from Thomas’s writings “a theodicy-capable theology of the cross” (57) that operates within a commitment to God’s impassibility as traditionally understood. Implicit in Schenk’s argument is the wager that a God who is, qua [End Page 301] God, beyond all suffering is a richer resource of hope for suffering humanity than is a God who suffers with us in his divinity.Under the topic of the Trinity, Guy Mansini’s essay launches something of a preemptive strike on Bruce McCormack, who, in a widely discussed essay (“Grace and Being,” in The Cambridge Companion to Karl Barth, 92-110) and in subsequent writings, has developed Barth’s notion of Christ’s obedience on the Cross as the manifestation in time of his “intra-trinitarian obedience” to the Father in order to argue against traditional notions of divine being and in favor of something like the view Jenson sketches in his essay. Mansini draws on the patristic and monastic traditions as well as Thomas to explore the humility and obedience of Christ, arguing that obedience can only be a virtue of a created will: “’To obey,’ like ‘to be caused’ or ‘to be moved,’ belongs exclusively to the created order” (82). Thus, Christ is humble and obedient qua human, not qua divine, and therefore one cannot sensibly speak of an intra-trinitarian obedience but only of the obedience of Christ’s human will to the one divine will that is common to the Father, Son, and Spirit. McCormack’s essay, which follows, seeks to show that the position he has developed by way of Barth’s theology can also be grounded in Thomas’s theology of the relation of divine processions and missions, at least as this has been interpreted by Matthew Levering. McCormack reads Thomas with notable ecumenical generosity, seeing in Thomas’s view that the... (shrink)

What does the unofficial artist see from the public seats of a courtroom? I have drawn occasionally in the UK Supreme Court, with the court’s permission. I have also drawn proceedings in other courts, such as nude appearances of the Naked Rambler, but these sketches have to be from memory: despite calls for greater transparency, it is still illegal to draw in any UK court below the UK Supreme Court. Official court artists seek to draw a newsworthy moment to (...) please their paymasters—news outlets, or lawyers who like a flattering image. I can please myself and pick out private human moments or elements of coded theatre. I write as a non-lawyer, representing the view of the lay person. What are the public, lawyers, parties and judges doing? How do performance nerves affect people? What can a drawing say? I take a practical rather than a theoretical look: I literally get my hands dirty. (shrink)

In this chapter I argue that Alexis de Tocqueville describes the virtue of citizenship in a way that is relevant to contemporary virtue ethics. He explains how a group can possess a virtue that is distinct from the virtue of individual members of the group. (this is an unofficial draft).

How do societies transitioning from oppressive to democratic rule hold accountable those citizens who contributed to maintaining injustice in the ancient regime by secretly denouncing fellow citizens? Is their public identification a way of fulfilling respect for those who suffered harm as a result of their collaboration? And is public identification respectful of denunciators themselves? This book pursues these questions through a multidisciplinary investigation focusing on the denunciators for the East German secret police and the Ministry of State Security and (...) the way in which they have been publicly unveiled in contemporary German society. The book evaluates the justifications that social actors offer to support or oppose public identifications; how targeted collaborators react to this social practice; and whether it achieves its intended purpose. At every stage, the book asks whether the motivations and the consequences of public identifications honor or undermine the value of respect for people. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)