We provide a Camusian/Peircean notion of inquiry that emphasises an attitude of fallibilism and sustained epistemic dissonance as a conceptual framework for a theory of classroom practice founded on Deep Reflective Thinking (DTR), in which the cultivation of collective doubt, reflective evaluation and how these relate to the phenomenological aspects of inquiry are central to communities of inquiry. In a study by Fynes-Clinton, preliminary evidence demonstrates that if students engage in DRT, they more frequently experience cognitive dissonance and (...) as a result improve their ability to engage in further and more frequent DRT. Sustained intellectual progress occurs when the inquiry reaches a point whereby students can thoughtfully move between the position of disequilibrium (doubt) and equilibrium (belief) whilst understanding the impermanency of any fixed belief, which, in turn, enables reconstruction of thinking and appropriation of learning in the context of collaborative philosophical inquiry. (shrink)

Thinking skills pedagogies like those employed in a community of inquiry (COI) provide a powerful teaching method that fosters reconstruction of thinking in both teachers and students. This collaborative, dialogic approach enables teachers and students to think deeply about the thinking process within a supportive, structured learning environment, by fostering the transformative potential of lived experience. This paper explores the potential for cognitive dissonance (genuine doubt) during students’ experiences of inquiry to be transformed into impetus for the acquisition and improvement (...) of social and intellectual inquiry capabilities and thinking behaviours across the curriculum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 689 Elizabeth Jean Hornbeck Who’s Afraid of the Big Bad Wolf?: Domestic Violence in The Shining At first glance, Stanley Kubrick’s 1980 film The Shining seems to be a straightforward Gothic horror film. It starts with the Torrance family— Jack, Wendy, and Danny—moving from their Boulder, Colorado, apartment into the Overlook Hotel, where Jack (Jack Nicholson) (...) has accepted a job as the winter caretaker. By the film’s climax, an axe-wielding Jack says to his terrified wife and son (Shelley Duvall and Danny Lloyd), through the door to the bathroom where they are hiding, “Little pigs, little pigs, let me come in. Not by the hair on your chinny chin chin? Then I’ll huff and I’ll puff and I’ll blow your house in!”1 Jack assumes the role of the Big Bad Wolf, the nightmarish, predatory beast of fairy tales. These lines, along with Nicholson’s exaggerated performance as a crazed killer, parody the Gothic horror genre and slasher films and even children ’s fairy tales in what is, at its core, a story about domestic violence. In both Kubrick’s film and Stephen King’s 1977 novel, from which the film was adapted, the Gothic genre becomes a vehicle for a serious tale about violence within the family. The “discovery” of child abuse in the 1960s, “the creation of the wife-beating problem” in the 1970s, and 1. The Shining, directed by Stanley Kubrick (1980; Warner Home Video, 2007), DVD. The line is from the fairytale of The Three Little Pigs. Geoffrey Cocks discusses the sources and ramifications of the fairytale in The Wolf at the Door: Stanley Kubrick, History and the Holocaust (New York: Peter Lang Publishing, Inc., 2004), 33–38. 690 Elizabeth Jean Hornbeck the feminist movement allowed viewers to perceive domestic violence with a new level of understanding.2 It is my contention that The Shining comments on domestic violence in a way that has been mostly overlooked by critics. While most analyses of both the novel and the film have come from literary and cinema studies perspectives, I offer a sociological approach focused on the profound effect of changing social mores on cultural production. I draw also on feminist and queer theorizing of audience identification, gender, and erotic pleasure in horror films to explain the significant contributions made by King, Kubrick, Duvall, and screenwriter Diane Johnson to the film’s intervention in US public discourse about domestic violence.3 The first scholar who argued that Kubrick’s film is essentially a domestic abuse narrative was James Hala, who based his analysis on a close reading of critical reviews of the film and a discussion of the performances, with no reference to its social, political, or historical context.4 But it is important to note that both the novel and the film came at the end of a decade when the recognition of domestic violence as a social problem was still relatively new. Sociologists and the medical and legal professions did not take “wife beating” seriously until the mid-1970s, when the women’s movement brought public attention to spousal abuse.5 2. Kathleen J. Tierney, “The Battered Women Movement and the Creation of the Wife Beating Problem,” Social Problems 29, no. 3 (1982): 207–20; Stephen J. Pfohl, “The ‘Discovery’ of Child Abuse,” Social Problems 24, no. 3 (1977): 310–23. 3. The theoretical works that I have drawn on most heavily are Carol J. Clover, Men, Women, and Chain Saws: Gender in the Modern Horror Film (Princeton, NJ: Princeton University Press, 1992); and David Greven, Representations of Femininity in American Genre Cinema: The Woman’s Film, Film Noir, and Modern Horror (New York: Palgrave Macmillan, 2011). 4. James Hala, “Kubrick’s The Shining: The Specters and the Critics,” in The Shining Reader, ed. Anthony Magistrale (Mercer Island, WA: Starmont House, 1990), 203–16. 5. In 1976, a national survey reported that “at least 1.8 million American women are severely beaten in their own homes every year.” Murray A. Straus, et al., Behind Closed Doors: Violence in the American Family, as cited in “‘The Burning Bed’: TV... (shrink)

When a cell divides, it produces two daughter cells initially connected by a cytokinesis bridge, which is eventually cut through abscission. One of the two daughter cells inherits a bridge “remnant”, which has been proposed to be degraded by autophagy. The fate and function of remnants is attracting increasing attention, as their accumulation appears to influence proliferation versus differentiation of the daughter cells. Here, we present a simple model for bridge and remnant turnover in a dynamic cell population. We demonstrate (...) that remnant proportions depend on the ratio of remnant and bridge lifetimes to the cell population doubling time. Our results yield new alternative interpretations for published experimental data, leading us to believe that autophagy‐independent pathways for remnant degradation may exist. In addition, using the model, we determined experimentally inaccessible parameters such as remnant lifetime. Our model proves to be a useful tool for studying bridge and remnant populations. (shrink)

Individual differences in effortful control, a component of temperament, reflecting the ability to use attention and other cognitive processes to self-regulate emotion and behavior, contribute to child academic adjustment, social competence, and wellbeing. Research has linked excessive screen time in early childhood to reduced self-regulation ability. Furthermore, research suggests that parents are more likely to use screens with children who have more challenging temperaments, such as low levels of effortful control. Since screen time by children between the ages of 0 (...) and 18 has increased during the COVID-19 pandemic, it remains timely to investigate the developmental pattern of association between child screen media use and effortful control. We hypothesize that higher levels of screen media intake at age 3.5 will be associated with lower effortful control at age 4.5 and that lower effortful control at 3.5 will contribute to more screen media intake at age 4.5. This study draws on participants followed longitudinally over the span of 2-years for an investigation of Canadian preschoolers’ screen media use during the pandemic. A follow-up with this sample was completed in 2021. Analyses using a cross-lagged panel model revealed stability in child screen time and effortful control between the ages of 3.5 and 4.5. Child screen time at age 3.5 significantly contributed to decreased effortful control scores at the age of 4.5, whereas effortful control at age 3.5 did not contribute to screen time at age 4.5. Our results partially confirmed our hypothesis and indicated that higher levels of screen time intake were detrimental to the development of effortful control. These results suggest that screen media use, an exceedingly frequent activity, may play an enduring role in development by shaping young children’s temperaments. (shrink)

BackgroundThe increased risk of developing attention-deficit hyperactivity disorder (ADHD) in extremely preterm infants is well-documented. Better understanding of perinatal risk factors, particularly those that are modifiable, can inform prevention efforts.MethodsWe examined data from the Extremely Low Gestational Age Newborns (ELGAN) Study. Participants were screened for ADHD at age 10 with the Child Symptom Inventory-4 (N = 734) and assessed at age 15 with a structured diagnostic interview (MINI-KID) to evaluate for the diagnosis of ADHD (N = 575). We studied associations (...) of pre-pregnancy maternal body mass index (BMI), pregestational and/or gestational diabetes, maternal smoking during pregnancy (MSDP), and hypertensive disorders of pregnancy (HDP) with 10-year and 15-year ADHD outcomes. Relative risks were calculated using Poisson regression models with robust error variance, adjusted for maternal age, maternal educational status, use of food stamps, public insurance status, marital status at birth, and family history of ADHD. We defined ADHD as a positive screen on the CSI-4 at age 10 and/or meeting DSM-5 criteria at age 15 on the MINI-KID. We evaluated the robustness of the associations to broadening or restricting the definition of ADHD. We limited the analysis to individuals with IQ ≥ 70 to decrease confounding by cognitive functioning. We evaluated interactions between maternal BMI and diabetes status. We assessed for mediation of risk increase by alterations in inflammatory or neurotrophic protein levels in the first week of life.ResultsElevated maternal BMI and maternal diabetes were each associated with a 55–65% increase in risk of ADHD, with evidence of both additive and multiplicative interactions between the two exposures. MSDP and HDP were not associated with the risk of ADHD outcomes. There was some evidence for association of ADHD outcomes with high levels of inflammatory proteins or moderate levels of neurotrophic proteins, but there was no evidence that these mediated the risk associated with maternal BMI or diabetes.ConclusionContrary to previous population-based studies, MSDP and HDP did not predict ADHD outcomes in this extremely preterm cohort, but elevated maternal pre-pregnancy BMI, maternal diabetes, and perinatal inflammatory markers were associated with increased risk of ADHD at age 10 and/or 15, with positive interaction between pre-pregnancy BMI and maternal diabetes. (shrink)

Encounters with Alphonso Lingis is the first extensive study of this American philosopher who is gaining an international reputation to augment his national one. The distinguished contributors to this volume address most of the central themes found in Lingis's writings—including singularity and otherness, death and eroticism, emotions and rationality, embodiment and the face, excess and the sacred. The book closes with a new essay by Lingis himself.

Metadata helps users locate resources that meet their specific needs. But metadata also helps us to understand the data we find and helps us to evaluate what we should spend our time on. Traditionally, staff at libraries, archives, and museums (LAMs) create metadata for the content they manage. However, social metadata—content contributed by users—is evolving as a way to both augment and recontextualize the content and metadata created by LAMs. Many cultural heritage institutions are interested in gaining a better understanding (...) of social metadata and also learning how to best utilize their users' expertise to enrich their descriptive metadata and improve their users' experiences. (shrink)

: The natural philosopher Michael Faraday and the psychologist Jean Piaget experimented directly with natural phenomena and children. While Faraday originated evidence for spatial fields mediating force interactions, Piaget studied children's cognitive development. This paper treats their experimental processes in parallel, taking as examples Faraday's 1831 investigations of water patterns produced under vibration and Piaget's interactions with his infants as they sought something he hid. I redid parts of Faraday's vibrating fluid activities and Piaget's hiding games. Like theirs, my (...) experiences showed that incomplete observations and confusions accompanied—and facilitated —experimental developments. While working with things in their hands, these experimenters' minds were also engaged, inferring new, more coherent understandings of the behaviors under study. Transitory ripples disclosed distinct patterns; infants devised more productive search methods. From the ripples, Faraday discerned an oscillatory condition that informed his subsequent speculations about light. From the infant search, Piaget identified experimenting as a child's means of developing self and world, later envisioning its infusion into education. Taken together, these two stories demonstrate that cognitive capacities emerge in the actual process of experimenting. This finding eclipses the historical context in its implications for education today. When learners pursue their own experiments, their minds develop. (shrink)

While the postmodern critique of universals provides important insights, it also leaves us in an unacceptable position---lacking solid justification for moral judgments and political action, and unable to generalize about human experience. I argue that the best response to relativism lies in a new humanism. Any new humanism must be "post-humanist"---taking into account valid critiques of past humanisms, incorporating multicultural voices, and building upon an understanding of the common human condition that does not erase or ignore difference. My project is (...) to present a re-conceptualized notion of the "human condition" that meets these conditions, to serve as a basis for a new humanism. ;As a starting point, I take up the framework found in Jean-Paul Sartre's later Marxist-Existentialist works. These are helpful in two respects. First, as he attempts to reconcile Marxism and Existentialism, Sartre re-examines central categories of human experience and ultimately arrives at an understanding of the human that transcends both essentialism and anti-essentialism. Second, I argue that the methods Sartre develops anticipate crucial postmodern insights without losing moral and political ground, and that a reworking of these methods enables us to theorize beyond postmodernism today. My project also draws upon Feminism, Critical Race Theory, Postcolonialism, African Philosophy, and the Frankfurt School. ;The central elements of my articulation of the human condition include: a rethinking of the relationship of the individual and the social; an account of the social constitution of the individual; a new approach to understanding freedom and necessity in human experience; and a reconsideration of social identities such as race, class, and gender. I ask, given this understanding of the human condition, what problems remain inherent to human relationships, and what are the possibilities? Are we doomed to alienating and objectifying interactions with others, or are authentic love and cooperation also possible? Finally, I explore the ways in which we might achieve equality and reciprocity in a democracy necessarily built upon differences in identity and social power. (shrink)

Comics have great potential to depict an almost infinite range of themes, questions and lives. But what about their ability to express and interpret philosophical concepts? How can we differentiate between the representation of theoretical concepts in and of themselves, and the impact of comics techniques on the legacy of philosophers, their lives and their thought? This book explores the historical and artistic value of representing lives through the medium of bande dessinée (BD), French-language comics. The text analyses three biographical (...) BDs dedicated to the lives of Jean-Paul Sartre, Simone de Beauvoir and Albert Camus as well as a selection of print and online comics that extend the legacy of these philosophers and their historical movement. The work is the first to analyse biographical BD through the lens of Existentialism, offering a new theory of reading biographical comics. The research not only contributes a novel approach to comics but also an enhanced understanding of Existentialism and the Existentialists, including their enduring contemporary relevance. (shrink)

© 2015, Springer-Verlag Berlin Heidelberg.Genetic studies have identified single nucleotide polymorphisms associated with the risk of prostate cancer. It remains unclear whether such genetic variants are associated with disease aggressiveness. The NCI-SPORE Genetics Working Group retrospectively collected clinicopathologic information and genotype data for 36 SNPs which at the time had been validated to be associated with PC risk from 25,674 cases with PC. Cases were grouped according to race, Gleason score and aggressiveness. Statistical analyses were used to compare the frequency (...) of the SNPs between different disease cohorts. After adjusting for multiple testing, only PC-risk SNP rs2735839 was significantly and inversely associated with aggressive and high-grade disease in European men. Similar associations with aggressive and high-grade disease were documented in African-American subjects. The G allele of rs2735839 was associated with disease aggressiveness even at low PSA levels in both European and African-American men. Our results provide further support that a PC-risk SNP rs2735839 near the KLK3 gene on chromosome 19q13 may be associated with aggressive and high-grade PC. Future prospectively designed, case-case GWAS are needed to identify additional SNPs associated with PC aggressiveness. (shrink)

ArgumentMontpellier vitalists upheld a medical perspective akin to modern “holism” in positing the functional unity of creatures imbued with life. While early vitalists focused on the human organism, Jean-Charles-Marguerite-Guillaume Grimaud investigated digestion, growth, and other physiological processes that human beings shared with simpler organisms. Eschewing modern investigative methods, Grimaud promoted a medically-grounded “metaphysics.” His influential doctrine of the “two lives” broke with Montpellier holism, classifying some vital phenomena as “higher” and others as “lower” and attributing the “nobility” of the (...) human species to the predominance of the former. In place of Montpellier teaching that attributed health to the holistic equilibration of vital activities, Grimaud embraced spiritualist dualisms of soul and body, Creator and created. Celebrating the divinely-ordained “wisdom” evident in involuntary physiological processes, he argued that such life functions were incomprehensible to human investigators. While Grimaud's work encouraged inquiry into the division between the central and “vegetative” nervous systems that became paradigmatic in nineteenth-century neuroscience, it also opened Montpellier vitalism to charges of conservatism and obscurantism that are still lodged against it to the present day. (shrink)

In recent years, calls for a new humanism have arisen from a variety of voices across the spectrum of philosophy, expressing frustration with outdated models of the human that cannot account for the richness of our social being. The postmodern deconstruction of the human now requires a reconstructive moment. In response, the author articulates a new and explicitly posthumanist humanism using the framework developed by Jean-Paul Sartre in his later Marxist-Existentialist works. Sartre's unique dialectical and hermeneutical methods allow us (...) to reconceptualize the human beyond traditional dichotomies of individual/social and freedom/necessity. The author argues that the individual and the social should be understood as existing within a dynamic, co-constituting interrelation, and that individual autonomy is not at odds with, but rather fundamentally enabled by, the social. (shrink)

Yama/Yima: Variations indo-iraniennes sur la geste mythique / Variations on the Indo-Iranian Myth of Yama/Yima. Edited by Samra Azarnouche and Céline Redard with an introduction by Jean Kellens. Collège de France: Publications de l’Institut de Civilisation Indienne, fasc. 81. Paris: De Boccard, 2012. Pp. vii + 239, plates.

Baudelaire's response to Delacroix's art and theories provides a particularly fruitful focus for a study of the new rapport between the former sister arts. There is little similarity between Delacroix's action-filled exotic subjects and Baudelaire's more intimate and private poetry; their arts must therefore be related in some domain apart from content. We are aided in deciphering this domain by Baudelaire's extensive commentary on Delacroix. Moreover, perhaps because of its subtlety, the relationship between these arts has not received the attention (...) it deserves.1 Yet no sooner is the possibility for such a study recognized than the problems it entails become apparent. Without the focus of common subjects, where does one begin? The dangers of impressionistic comparisons of study are readily apparent in the tendency of Geistesgeschichte studies to transfer stylistic terms from one art form to another, creating such bizarre transpositions as "the visible chamber music of the bent furniture" or the "Titian style of the madrigal" in Spengler's Decline of the West or Wylie Sypher's suggestion that a Shakespearean play is like a Renaissance painting because it makes use of "perspective" to create a real and believable world.2 And indeed it would be misleading to look for particular stylistic similarities between Delacroix and Baudelaire. Delacroix's dissolution of solid color masses into separate strokes of different colors, for example, would appear to be closer to Rimbaud's disjointed language than to Baudelaire's carefully interwoven sentences. Only by viewing the two art forms as interconnected systems can we determine their relationship. If the new affiliation of poetry and painting in the Romantic period derives from the expression of imaginative unity, a critical approach to their relationship must be attuned to different ways of expressing unity. The theoretical framework that accounts most completely for the kind of relationship existing between Delacroix and Baudelaire is provided by the structuralists, although, as we shall see, even this approach has limitations. · 1. There are several studies of Baudelaire's aesthetics and criticism, such as André Ferran's L'Esthétique de Baudelaire , Margaret Gilman's Baudelaire the Critic , and Jean Prévost's Baudelaire: essai sur l'inspiration et la création poétiques , which contain sections on the influence of Delacroix but do not extend their analysis into Baudelaire's poetry as a whole. More specific works, such as Lucie Horner's Baudelaire critique de Delacroix , provides a detailed study of their relationship based on their correspondence and references to one another, but no analysis of the relationship between their two art forms. Some studies of Baudelaire's poetry, such as Lloyd James Austin's L'Univers poétique de Baudelaire: symbolisme et symbolique and Martin Turnell's Baudelaire: A Study of His Poetry , point out aspects of Baudelaire's poems that appear relevant to the relationship with Delacroix, but they do not make these connections themselves. Most commentary on the relationship of Delacroix to Baudelaire's poetry is limited to those few poems that Baudelaire wrote on Delacroix's paintings.· 2. Wellek and Warren quote the comments on Spengler in Theory of Literature, p. 131. Sypher's comments are in Four Ages of Renaissance Style: Transformations in Art and Literature 1400-1700 , pp. 79-80. Elizabeth Abel is an assistant professor of English at the University of Chicago. A coeditor of Critical Inquiry, she is currently writing a book on literary and psychoanalytic representation of female identity. (shrink)

This paper seeks to discern the Kierkegaardian echoes present in the writings of the French philosopher Jean-François Lyotard. While these thinkers share a number of commonalities such as their resistance to categorisation and their imaginative and complex writing styles, Lyotard’s engagement with Kierkegaard has been largely dismissed as inconsequential. However, a modest yet consistent device invoked by Lyotard is Kierkegaard’s paradox of faith from Fear and Trembling. While these references to Kierkegaard read as terse blips in Lyotard’s texts, this (...) paper argues that the Kierkegaardian echoes that can be heard in Lyotard’s writings are crucial for a deeper understanding of Lyotard’s ethical turn. Rather than being insignificant, Lyotard’s direct as well as second-hand engagement with Kierkegaard has profound effects on his philosophy of the differend. By exploring Lyotard’s enigmatic, yet brief appeals to the paradox of faith, this paper shows that Lyotard strikes a chord with Kierkegaard by using the paradox of faith as an intertextual reference to a critique of Hegelian mediation and for discussing the ethical dilemmas inherent to one of the most shocking and incomprehensible events of the twentieth century, Auschwitz. (shrink)

A survey of theories on the passions and action in seventeenth- and eighteenth-century Britain and western Europe reveals that few, if any, of the major writers held the view that reason in any of its functions executes action without a passion. Even rationalists, like Cambridge Platonist Ralph Cudworth and English clergyman Samuel Clarke, recognized the necessity of passion to action. On the other hand, many of these intellectuals also agreed with French philosophers Jean-François Senault, René Descartes, and Nicolas Malebranche (...) that, for passions to be useful or to become virtues, they must be governed by reason. Without the moderation of reason, passions will be unruly, distort our notions of good, and disrupt our rational volitions. In response to these popular early modern perspectives, Enlightenment thinker David Hume offered a now-famous argument that reason without passion cannot motivate, drawing the further conclusion that reason cannot govern the passions, either. Given that no one in Hume’s era seemed to defend the claim that reason alone can motivate action, what was Hume’s intention? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Summaries and CommentsElizabeth C. Shaw, Staff*, and James ChamberlainBAGGINI, Julian. The Great Guide: What David Hume Can Teach Us about Being Human and Living Well. Princeton, N.J.: Princeton University Press, 2021. 319 pp. Cloth, $24.95; paper, $19.95Throughout this engaging and accessible book, Julian Baggini encourages his readers to treat the life and works of David Hume as a "model of how to live." Baggini presents summaries of Hume's most (...) famous philosophical arguments, along with biographical details about Hume's life, but always with the aim of learning from Hume about living well. He also discusses his own visits to several locations of importance to Hume.Over the course of The Great Guide, Baggini suggests many "Humean maxims and aphorisms" related to the good life. Some are drawn from Hume's own writings, such as the maxim that "the greatest part of mankind float betwixt vice and virtue." Others are arrived at by considering aspects of Hume's own life and character, including his failings. For example, after considering Hume's racism, Baggini clearly has his own admiration for Hume in mind when he suggests the maxim "never slavishly follow even the greatest minds, for they too have prejudices, weaknesses, and blind spots."Baggini begins by describing those parts of Edinburgh and southern Scotland that Hume would have known in his youth. He recounts the young Hume's rejection of religious belief and of the Stoic project of attempting to find happiness by making oneself independent of others. However, Baggini notes, Hume never rejected the racist views he expressed in his essay "Of National Characters." Baggini argues that, although we should condemn Hume's views, we should treat his possession of these views primarily as evidence of the extent to which we are all socially conditioned. In Baggini's view, Hume's empiricist commitments are such that, were he to be alive today, experience would lead him to reject racism. Baggini thus aims to excuse Hume, at least somewhat, without excusing his racism.In chapter 2, Baggini follows Hume to La Flèche, in France's Loire valley, where Hume wrote most of his Treatise of Human Nature. As well as providing an account of Hume's time there, Baggini summarizes Hume's arguments about miracles, reason, and causation. He approvingly [End Page 809] notes Hume's skeptical conclusions concerning miracles, which he takes to demonstrate Hume's insistence on philosophizing only about the world as it really is. Baggini treats Hume's conclusions about cause and effect as significantly less skeptical. Although he observes that some scholars deny this, Baggini understands Hume to assert that causation is a "real power." His is a clear and helpful introduction to Hume's arguments concerning cause and effect, but readers of the relevant passages might hope for a little more discussion of what certainly appear to be Hume's skeptical claims about causal powers.Chapter 3 examines Hume's arguments about free will and personal identity, via a discussion of the complex factors which shaped his identity as a man of letters. Baggini observes Hume's sociability and his satisfaction in his success. He also commends Hume's broad-minded approach to philosophy and his willingness to write a wide variety of essays and, eventually, historical works.In chapter 4, Baggini discusses Hume's relationship with Paris. Returning to the topic of Hume's broad understanding of philosophy, Baggini argues that many of Hume's greatest insights were psychological ones. By comparing Hume's views on religion with the fervent atheism of the French philosophes, Baggini admiringly stresses Hume's moderation and his denial of any knowledge about "the ultimate ground of being." Since Hume believed he knew no more about the origins of the universe than anyone else, Baggini argues, he was able to develop friendships with and respect for moderate religious thinkers, as many philosophes were not. However, Baggini also suggests that Hume's "conservative instincts" sometimes led him astray, as where he "broadly endorsed the patriarchal attitudes of his time."Chapter 5 begins with an account of the dispute between Hume and Jean-Jacques Rousseau, which then forms the background for a discussion... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing Studio Art and Its StudyHistorical Relations and Contemporary ConditionsElizabeth M. Grierson (bio)Yet art is nevertheless an inquiry, precise and rigorous.—Maurice BlanchotIntroductionThe modern disciplines of art and art history have been going through significant revisions since the 1980s, when the objective domain of knowledge was placed in a contested position by the multiplicity of narratives characterizing postmodern social spaces. Whether there was or was not any disciplinary "crisis" at (...) that time is not at issue here.1 What is of concern is to identify the ways the academy—and specifically the art academy—sought to respond by rethinking disciplinary knowledge and thereby problematizing traditional methodologies of scholarly inquiry. Through the academic privileging of aesthetics and scientific discourses, modern knowledge brought with it a metanarrative appeal to the transcendence of the human spirit through art and religiosity, coupled with the identification of the rational human subject as agent of progress. This discussion is concerned with asking how these metanarratives were intervened or interrogated through art and its study and how those moments of displacement could be identified and analyzed. Ultimately, we may address the question of how discourses of power operate to normalize social practices and silence difference in institutional practices of art and art education. [End Page 111]Crisis in the DisciplinesIn 1982 an issue of Art Journal was dedicated to the theme of the crisis in the disciplines. However, as Donald Preziosi2 points out, if the disciplines of art and art history were deemed by Art Journal to be in crisis, there was only one article (by Oleg Grabar) in that journal issue that addressed this crisis and problematized "the history of the discipline and its methodological prospects for the future."3 In other words, if there was a crisis, and art educators or art historians were feeling it, what constituted the crisis was not yet being addressed. What is of interest is that this was a time when the object of study was under reconsideration and art and its history were part of a revisionist climate of scrutiny and reconsideration. This being so, there was significant expansion to the way fine arts and art history were being approached in the 1980s and 1990s in response to revisionist scholarship. This trend continued to be reinvigorated with the transformations of digital technologies in the 2000s.Art academies of the early 1990s in New Zealand and Australia were starting to grapple with methodological regimes of art history as a discipline in the context of intellectual challenges of postmodernity. Directing these issues to artists and their scholarly needs, educators were opening the discrete academic disciplines to wider intellectual, social, and cultural possibilities of inquiry. Standing before a "great" work of art and proclaiming its greatness had lost its meaning. Jean-François Lyotard had written it thus: "The time is past when we can plant ourselves in front of a Vernet and sigh along with Diderot, 'How beautiful, grand, varied, noble, wise, harmonious, rigorously coloured this is!'"4Threading throughout this discussion is the way one particular art academy was facing this challenge in those postmodernist years of the 1990s. The account tells of processes and principles of pedagogical change, but the implications of this case are not limited to one academy in one location. It was the early 1990s, and the writers of the first degree nominated as "visual arts" in New Zealand were addressing some of the issues of disciplinarity in fine arts and art history. This was the first degree situating what might be called a postmodernist pedagogical approach to fine arts studio and its study. This was at a time when changes in the New Zealand Education Act (1989, 1990) enabled degrees in art to be formally accredited and resourced in tertiary institutions beyond the long-established universities of Auckland (North Island) and Canterbury (South Island). This political move gave opportunity for educational innovation in the pedagogies of fine arts and art history. It was in this context that one independent art school in Auckland, ASA School of Art, seized the moment to work toward a more interdisciplinary notion of practice and theory. Given the opportunity to introduce a more... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ContingenciesElizabeth RottenbergAnalysis does precious little, but the little it does is precious.—Therese BenedekI’d like to begin with an anecdote of a slightly confessional nature. If I mention this anecdote, it’s because it came to me by chance as an association to what French analyst and philosopher Monique David-Ménard, in her introduction to Éloge des hasards dans la vie sexuelle, calls “positive contingency” or the “positive aspect of chance” (David-Ménard (...) 2011, 19–20), what in colloquial English we call a “happy accident.”So here’s the association. For reasons I cannot fully explain, the therapist I was seeing in graduate school encouraged me to take the Minnesota Multiphasic Personality Inventory test (the MMPI, as it’s called), a widely used and researched psychometric test of adult personality and psychopathology. The test involved hundreds of simple, inoffensive questions, questions such as, “Do you read all the editorials in the newspaper every day?”1 and it took me hours to complete. A week or so after taking the test, I met with my therapist and we went over the results together. According to the test (which, interestingly, takes into account the performative aspects of test taking), I had answered all the questions in such a way as to appear neither excessively good nor excessively bad, that is, I had answered all the questions honestly and consistently. And as far as psychopathology was concerned, my answers showed few signs of hypochondriasis, hysteria, psychopathy, schizophrenia, or hypomania. On the other hand, when it came to depression, paranoia, psychasthenia, and social introversion, my scores were a little higher, and a shockingly high percentage of my answers [End Page 128] reflected “stereotypical masculine interests/behaviors.” None of this seemed to worry my therapist in the least. The only thing she pointed to were my “odd answers” (the MMPI also has a special category for odd answers—presumably the answers of academics). She wondered about my answer to this question in particular: “Do you see people or animals or things that other people don’t see?” “You answered ‘true’ to that question,” she said. “I don’t understand. Why would you answer ‘true’? You’re not psychotic.” I explained that I had read the “or”—do you see people OR animals OR things that other people don’t see—as a disjunctive rather than a conjunctive OR. “So, yes, it’s true, when I read texts, sometimes I see things that other people don’t see.” At the time, of course, I wasn’t thinking of Deleuze’s “contingent reason” or of Monique’s discussion of the inventive power of disjunctive synthesis in her Deleuze et la psychanalyse (2005). And I certainly wasn’t thinking that my figurative reading of seeing, my misreading of seeing, was indicative of the essential and indeterminable contingencies of reading. No, I was only giving what I took to be a perfectly accurate description of the déformation professionnelle that is ours and that belongs to anyone who is a stickler for grammar... a positive déformation, I might add.But this association immediately leads me to another (contingent) association, this time one that is intimately related to Monique’s discussion of Torricelli’s law and to Claude Bernard’s discovery of the exocrine function of the pancreas. My association is to Freud and to Freud’s astonishment before the transformative power of Jean-Martin Charcot’s dazzling, clinical insight. In Freud’s description of his teacher, Charcot is someone who sees things that other people don’t see:[Charcot]... had the nature of an artist—he was, as he himself said, a “visuel,” a seer. Here is what he himself told us about his method of working. He used to look again and again at the things he did not understand, to deepen his impression of them day by day, till suddenly [plötzlich] an understanding of them dawned on him.... He might be heard to say that the greatest satisfaction a [person] could have was to see something new—that is, to recognize it as new; and he remarked again and again on the difficulty and value of this kind of... (shrink)

Early contractarians such as Thomas Hobbes and Jean-Jacques Rousseau stretched the idea of contract to encompass all realms of society: the political, the economic, the familial. Contract is still a fundamental concept for many modern disciplines; indeed, it names fields in political philosophy, in economics, and in law. There was no such governing notion of contract in the fourteenth century, no metaphor of exchange that could link together ideas about agency, conditions, profit, and responsibility from different disciplines and provide (...) a theory of the basis of society itself. Retrospectively it may seem that scattered ideas about contract were, in fact, being developed: for instance, by the common law in the actions called debt, covenant, and trespass; by constitutional theory, in conciliarism; by economic thought, in a miscellany of glosses and laws redressing fraud and regulating prices and markets; by theology, in discussions of will, intention, and the marriage sacrament; by the civil law, in Roman law of contract; and by canon law, in treatments of individual consent and incapacity in marriage. Yet nothing about this discontinuous hodgepodge predicts that a fundamental connection among those topics will emerge in later political theory. To find a powerful combination of social analysis and political philosophy that takes up the issues deliberated by the later contractarians, we can call upon a medieval allegorist. (shrink)

L’ouvrage d’Elizabeth MacKnight, Aristocratic Families in Republican France, offre une contribution novatrice à l’étude des rôles privés et publics des femmes aux xixe et xxe siècles et à leur importance sociopolitique en analysant les interactions domestiques, la vie émotionnelle, les centres d’intérêt politique et l’influence culturelle des familles nobles sous la Troisième République. Alors que la plupart des travaux historiques sur les femmes françaises de la période 1870-1940 se sont att...

This collection of essays and interviews, some previously unpublished and almost all of which appear in English for the first time, encompasses the political and ethical thinking of Jacques Derrida over thirty years. Passionate, rigorous, beautifully argued, wide-ranging, the texts shed an entirely new light on his work and will be welcomed by scholars in many disciplines--politics, philosophy, history, cultural studies, literature, and a range of interdisciplinary programs. Derrida's arguments vary in their responsiveness to given political questions--sometimes they are vivid (...) polemics on behalf of a position or figure, sometimes they are reflective analyses of a philosophical problem. They are united by the recurrent question of political decision or responsibility and the insistence that the apparent simplicity or programmatic character of political decision is in fact a profound avoidance of the political. This volume testifies to the possibility and the necessity of a philosophical politics. Negotiations assembles some of the most telling examples of the intrinsic relationship, so often affirmed by Derrida in more abstract philosophical terms, between deconstructive reading practices and what is called the "political"--more precisely, politics in an almost down-to-earth, pragmatic, and commonsense use of the word. Among the many subjects covered in the book are: the death penalty in the United States, the civil war in Algeria, globalization and cosmopolitanism, the American Declaration of Independence, Jean-Paul Sartre, the value of objectivity, politics and friendship, and the relationship between deconstruction and actuality. (shrink)

In Rousseau's Republican Romance, Elizabeth Wingrove combines political theory and narrative analysis to argue that Rousseau's stories of sex and sexuality offer important insights into the paradoxes of democratic consent. She suggests that despite Rousseau's own protestations, "man" and "citizen" are not rival or contradictory ideals. Instead, they are deeply interdependent. Her provocative reconfiguration of republicanism introduces the concept of consensual nonconsensuality--a condition in which one wills the circumstances of one's own domination. This apparently paradoxical possibility appears at the (...) center of Rousseau's republican polity and his romantic dyad: in both instances, the expression and satisfaction of desire entail a twin experience of domination and submission.Drawing on a wide variety of Rousseau's political and literary writings, Wingrove shows how consensual nonconsensuality organizes his representations of desire and identity. She demonstrates the inseparability of republicanism and accounts of heterosexuality in an analysis that emphasizes the sentimental and somatic aspects of citizenship. In Rousseau's texts, a politics of consent coincides with a performative politics of desire and of emotion. Wingrove concludes that understanding his strategies of democratic governance requires attending to his strategies of symbolization. Further, she suggests that any understanding of political practice requires attending to bodily practices. (shrink)

In this paper, we engage in dialogue with Jonathan Pugh, Hannah Maslen, and Julian Savulescu about how to best interpret the potential impacts of deep brain stimulation on the self. We consider whether ordinary people’s convictions about the true self should be interpreted in essentialist or existentialist ways. Like Pugh et al., we argue that it is useful to understand the notion of the true self as having both essentialist and existentialist components. We also consider two ideas from existentialist philosophy (...) – Jean-Paul Sartre and Simone de Beauvoir’s ideas about “bad faith” and “ambiguity” – to argue that there can be value to patients in regarding themselves as having a certain amount of freedom to choose what aspects of themselves should be considered representative of their true selves. Lastly, we consider the case of an anorexia nervosa-patient who shifts between conflicting mind-sets. We argue that mind-sets in which it is easier for the patient and his or her family to share values can plausibly be considered to be more representative of the patient’s true self, if this promotes a well-functioning relationship between the patient and the family. However, we also argue that families are well-advised to give patients room to figure out what such shared values mean to them, since it can be alienating for patients if they feel that others try to impose values on them from the outside. (shrink)

Elizabeth A. Kaye specializes in communications as part of her coaching and consulting practice. She has edited Requirements for Certification since the 2000-01 edition.

Subjects and Simulations presents essays focused on suffering and sublimity, representation and subjectivity, and the relation of truth and appearance through engagement with the legacies of Jean Baudrillard and Philippe Lacoue-Labarthe.

The millennial interest in the fable told by Apuleius in The Golden Ass has produced periods of intense preoccupation. Of these uses of the legend none is more interesting, varied, and profound—none possesses greater implications for contemporary life and manners—than the obsessive concern of pre-Romantic and Romantic writers and artists. Hellenistic, Roman, and early Christian culture had produced at least twenty surviving statues of Psyche alone, some seven Christian sarcophagi that used the legend, and a set of mosaics on a (...) Christian ceiling in Rome from the early fourth century;1 and of course to late antiquity belongs the distinction of having produced the seminal telling of the tale by Apuleius in about A. D. 125. But what we possess from that remote time is thin and lacks the power to engage the modern spirit. The allegorizing and erotic responses made in the Renaissance, Mannerist, and Baroque culture produced monuments of painting that the later period cannot rival; but the impregnation of literature by the legend was slight, and the intellectual or moral content was often only a perfunctory and dutiful addendum. The revival of the story in the aesthetic movement of the late Victorians and early moderns has its examples of beauty, particularly in Rodin and in the lush harmonies and occasionally piercing melodies of César Franck's Psyché, a tone poem for chorus and orchestra; but the long retellings by Morris, Bridges, and John Jay Chapman oppress with luxuriant sweetness and remain of interest only as period pieces. · 1. See Elizabeth Hazelton Haight, Apuleius and His Influence , p. 164, and Maxime Collignon, "Essai sur les monuments grecs et romains . . . ," in Bibliothèque des écoles françaises d'Athène et de Rome , fasc. 2, pp. 285-446, esp. pp. 364, 436-38. Jean H. Hagstrum, John C. Shaffer Professor of English and Humanities at Northwestern University, is currently preparing a book on the theme of love in European literature and art from the mid-seventeenth century through the Romantic period. He is the author of books and articles on Blake and Samuel Johnson, and of The Sister Arts, a study of the relations of poetry and painting from antiquity through the eighteenth century. (shrink)