Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (shrink)

The theme of the third annual Spring workshop of the HUPO-PSI was proteomics and beyond and its underlying goal was to reach beyond the boundaries of the proteomics community to interact with groups working on the similar issues of developing interchange standards and minimal reporting requirements. Significant developments in many of the HUPO-PSI XML interchange formats, minimal reporting requirements and accompanying controlled vocabularies were reported, with many of these now feeding into the broader efforts of the Functional Genomics Experiment data (...) model and Functional Genomics Ontology ontologies. (shrink)

This book, the first comprehensive study in English of Heidegger's philosophy of art, starts in the mid-1930s with Heidegger's discussion of the Greek temple and his Hegelian declaration that a great artwork gathers together an entire culture in affirmative celebration of its foundational 'truth', and that, by this criterion, art in modernity is 'dead'. His subsequent work on Hölderlin, whom he later identified as the decisive influence on his mature philosophy, led him into a passionate engagement with the art of (...) Rilke, Ce;zanne, Klee and Zen Buddhism, liberating him not only from the overly restrictive conception of art of the mid-1930s but also from the disastrous politics of the period. Drawing on material hitherto unknown in the anglophone world, Young establishes a new account of Heidegger's philosophy of art and shows that his famous essay 'The Origin of the Work of Art' is its beginning, not its end. (shrink)

Arthur Schopenhauer was one of the greatest writers and German philosophers of the nineteenth century. His work influenced figures as diverse as Wagner, Freud and Nietzsche. Best known as a pessimist, he was one of the few philosophers read and admired by Wittgenstein. In this comprehensive introduction, Julian Young covers all the main aspects of Schopenhauer's philosophy. Beginning with an overview of Schopenhauer's life and work, he introduces the central aspects of his metaphysics fundamental to understanding his work as (...) a whole: his philosophical idealism and debt to the philosophy of Kant; his attempt to answer the question of what the world is; his account of science; and in particular his idea that 'will' is the essence of all things. Julian Young then introduces and assesses Schopenhauer's aesthetics, which occupy a central place in his philosophy. He carefully examines Schopenhauer's theories of the sublime, artistic genius and music, before assessing his ethics of compassion, his arguments for pessimism and his account of 'salvation'. In the final chapter, he considers Schopenhauer's legacy and his influence on the thought of Nietzsche and Wittgenstein, making this an ideal starting point for those coming to Schopenhauer for the first time. (shrink)

This is the first book-length study to explore the relationship between archaeology and modern thought, showing how philosophical ideas that developed in the seventeenth to nineteenth centuries still dominate our approach to the material remains of ancient societies. It discusses the modern emphasis on method rather than ethics or meaning, our understanding of change in history and nature, the role of the nation-state in forming our views of the past, and contemporary notions of human individuality, the mind, and materiality. (...) class='Hi'>Julian Thomas also addresses the modern preoccupation with depth, which enables archaeology to be used as a metaphor in other disciplines. The book concludes by advocating a "counter-modern" archaeology that refuses to separate material evidence from political, moral, rhetorical, and aesthetic concerns, as well as meaning. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art (...) into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

This is a clear and lucid account of Nietzsche's philosophy of art, combining exegesis, interpretation and criticism in a judicious balance. Julian Young argues that Nietzsche's thought about art can only be understood in the context of his wider philosophy. In particular, he discusses the dramatic changes in Nietzschean aesthetics against the background of the celebrated themes of the death of God, eternal recurrence, and the idea of the Übermensch. Young then divides Nietzsche's career and his philosophy of art (...) into four distinct phases, but suggests that these phases describe a circle. An attempt at world-affirmation is made in the central phases, but Nietzsche is predominantly influenced at the beginning and end of his career by a Schopenhauerian pessimism. At the beginning and end art is important because it 'redeems' us from life. (shrink)

This groundbreaking work considers one of the central themes of archaeology, time, which until recently has been taken for granted. It considers how time is used and perceived by archaeology and also how time influences the construction of identities. The book presents case studies, eg, transition from hunter gather to farming in early Neolithic, to examine temporality and identity. Drawing upon the work of Martin Heidegger, Thomas develops a way of writing about the past in which time is seenm as (...) central to the emergence of the identities of peoples and things. He questions the modern western distinction between nature and culture, mind and body, object and subject, and argues that in some senses the temporal structure of human beings, artefacts and places are similar. (shrink)

In Minding Spirituality, Randall Sorenson, a clinical psychoanalyst, "invites us to take an interest in our patients' spirituality that is respectful but not diffident, curious but not reductionistic, welcoming but not indoctrinating." Out of this.

In Occasional Deconstructions, Julian Wolfreys challenges the notion that deconstruction is a critical methodology, offering instead a number of reintroductions or reorientations to the texts of Jacques Derrida and the idea or possibility of deconstructions. Proceeding from specific readings of various texts (both film and literary), as well as mobilizing a number of issues from Derrida's recent work surrounding questions of ethics, politics, and identity, Wolfreys considers the role of deconstruction in broader academic and institutional contexts, and questions whether, (...) in fact, deconstruction can be called upon to function as theory at all. In this book, Wolfreys suggests that the patient, necessary work of reading, in which response and responsibility to the other has a chance to manifest itself, is necessary to the always political and ethical tracing of the material and the historical. He also contends that reading should be an encounter that gives place to an acknowledgment of the other, and that this singular act by which one is introduced to the other can never be programmed. (shrink)

The central question for this book is whether schools should attempt to cultivate patriotism, and if so why, how, and with what conception of patriotism in mind. The promotion of patriotism has figured prominently in the history of public schooling in the United States, always with the idea that patriotism is both an inherently admirable attribute and an essential motivational basis for good citizenship. It has been assumed, in short, that patriotism is a virtue in its own right and that (...) it is a foundational aspect of civic virtue more generally. Through an integrated historical and philosophical approach, this book demonstrates that there have been many and diverse attempts to cultivate patriotism in public schools in the United States and that they have been predicated on different conceptions of patriotism, citizenship, and learning. In order to assess these assumptions and evaluate the various practices of patriotic education, we address the nature of virtue and the motivational foundations of civic responsibility, and we frame a general approach to the ethics of education. We find that the history of attempts to cultivate patriotism in schools offers both cautionary and positive lessons. We argue that there is a virtuous form of patriotism and that an inclusive and enabling just school community may contribute to its development. Yet, we conclude that patriotism is not a virtue as such. We argue that civic virtue is what schools should aim to cultivate, and that civic education should be organized around three components of civic virtue, namely civic intelligence, civic friendship, and civic competence. We hold that virtuous patriotism is an appropriate responsiveness to a country’s value, and that such responsiveness is part and parcel of civic virtue that is also responsive to what has value beyond one’s own country. The book concludes with a defense of global civic education, arguing that it should promote global civic friendship and cooperation. The book situates its understanding of patriotism in the context of nationalist, populist, and authoritarian movements in the United States and Europe, and it mounts a spirited defense of democratic institutions that should be of interest to anyone concerned about the polarization of public life and future of democracy. (shrink)

EDITORS' INTRODUCTION B he Vedas tell of a conversation between a young man, Shvetaketu, and his father concerning what the son had learned in his education ...

Machine‐learning algorithms have the potential to revolutionise diagnostic and prognostic tasks in health care, yet algorithmic performance levels can be materially worse for subgroups that have been underrepresented in algorithmic training data. Given this epistemic deficit, the inclusion of underrepresented groups in algorithmic processes can result in harm. Yet delaying the deployment of algorithmic systems until more equitable results can be achieved would avoidably and foreseeably lead to a significant number of unnecessary deaths in well‐represented populations. Faced with this dilemma (...) between equity and utility, we draw on two case studies involving breast cancer and melanoma to argue for the selective deployment of diagnostic and prognostic tools for some well‐represented groups, even if this results in the temporary exclusion of underrepresented patients from algorithmic approaches. We argue that this approach is justifiable when the inclusion of underrepresented patients would cause them to be harmed. While the context of historic injustice poses a considerable challenge for the ethical acceptability of selective algorithmic deployment strategies, we argue that, at least for the case studies addressed in this article, the issue of historic injustice is better addressed through nonalgorithmic measures, including being transparent with patients about the nature of the current epistemic deficits, providing additional services to algorithmically excluded populations, and through urgent commitments to gather additional algorithmic training data from excluded populations, paving the way for universal algorithmic deployment that is accurate for all patient groups. These commitments should be supported by regulation and, where necessary, government funding to ensure that any delays for excluded groups are kept to the minimum. We offer an ethical algorithm for algorithms—showing when to ethically delay, expedite, or selectively deploy algorithmic systems in healthcare settings. (shrink)

Through network diagrams and sustained narrative, sociologist Randall Collins traces the development of philosophical thought from ancient Greece to modern ...

This is the first philosophical study of artifacts that is book length. In it Randall Dipert develops a theory of what artifacts are and applies it extensively to one of the most complex and intriguing kind of artifacts, art works. He presents his own account of what agents, intentions, and actions are, then uses these notions to clarify what it is for an agent to "make" something. From this starting point, he develops a full theory of artifacts and other (...) artificial things - and, especially, a theory of art works and performances of art works as artifacts. He proposes a theory of nature and of the value of nature as what is essentially nonartificial. Two chapters are devoted to value considerations: merit in artifacts generally, and the evaluation of art works and performance art as artifacts or intentional gestures. Believing that a developed theory of action and philosophy of mind is necessary for a developed aesthetics and philosophy of art, Dipert relies on classical and contemporary research on agency, actions, and intentions, and on the intentionalist theory of mental objects of Brentano and Meinong. Dipert considers artifacts to be physical entities, but he also includes in the definition thoughts, utterances, and performances. This vast category encompasses everyday household objects and tools, streets and edifices, as well as communicative and artistic artifacts. Especially with regard to artistic artifacts, Dipert proposes a theory of expression and communication as actions and extensively discusses the problems of interpreting and recognizing actions, artifacts, and art works. (shrink)

In this essay we will use mind as the term to designate the totality and manner in which our thoughts take place. We use the term brain to refer to the underlying mechanics, the substrate and the manner in which it supports the operations needed to carry out thoughts.

Taking the possibility of visual argumentation seriously, this essay explores how refutation might proceed. We posit three ways in which images can refute and be refuted in a mixed-media environment: (1) dissection, in which an image is broken down discursively; (2) substitution, in which one image is replaced within a larger visual frame by a different image; and (3) transformation, in which an image is recontextualized in a new visual frame. These strategies are illustrated in an analysis of three American (...) documentary films on abortion. (shrink)

John Calvin claims that the foundation of Scripture is the oracles and visions revealed to the patriarchs, transmitted through countless generations by an oral tradition that faithfully preserved these oracles. The oral tradition of the patriarchs also contains practices not found in written Scripture that are applicable to the church of Calvin day.

In the popular misconception fostered by blockbuster action movies and best-selling thrillers--not to mention conventional explanations by social scientists--violence is easy under certain conditions, like poverty, racial or ideological hatreds, or family pathologies. Randall Collins challenges this view in Violence, arguing that violent confrontation goes against human physiological hardwiring. It is the exception, not the rule--regardless of the underlying conditions or motivations. -/- Collins gives a comprehensive explanation of violence and its dynamics, drawing upon video footage, cutting-edge forensics, and (...) ethnography to examine violent situations up close as they actually happen--and his conclusions will surprise you. Violence comes neither easily nor automatically. Antagonists are by nature tense and fearful, and their confrontational anxieties put up a powerful emotional barrier against violence. Collins guides readers into the very real and disturbing worlds of human discord--from domestic abuse and schoolyard bullying to muggings, violent sports, and armed conflicts. He reveals how the fog of war pervades all violent encounters, limiting people mostly to bluster and bluff, and making violence, when it does occur, largely incompetent, often injuring someone other than its intended target. Collins shows how violence can be triggered only when pathways around this emotional barrier are presented. He explains why violence typically comes in the form of atrocities against the weak, ritualized exhibitions before audiences, or clandestine acts of terrorism and murder--and why a small number of individuals are competent at violence. (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the frieze (...) is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)

Introduction -- The type/token theory introduced -- Motivating the type/token theory : repeatability -- Nominalist approaches to the ontology of music -- Musical anti-realism -- The type/token theory elaborated -- Types I : abstract, unstructured, unchanging -- Types introduced and nominalism repelled -- Types as abstracta -- Types as unstructured entities -- Types as fixed and unchanging -- Types II : platonism -- Introduction : eternal existence and timelessness -- Types and properties -- The eternal existence of properties reconsidered -- (...) Types and patterns -- Defending the type/token theory I -- Unstructuredness and analogical predication -- Musical works as fixed and unchanging -- Abstractness and audibility (again) -- Works and interpretations -- Conclusion and resumé -- Defending the type/token theory II : musical platonism -- Platonism it is : replies to Anderson and Levinson -- The existence conditions of works of music -- Composition as creative discovery -- The nature of the compositional process : replies to objections -- Composition and aesthetic appraisal : a reply to Levinson -- Composition and aesthetic appraisal : understanding, interpretation, and correctness -- Musical works as continuants : a theory rejected -- A theory introduced -- Explicating and motivating the continuant view -- The continuant view and repeatability -- Further objections to the continuant view -- Musical works as compositional actions : a critique -- Currie's action-type hypothesis -- Davies's performance theory -- Sonicism I : against instrumentalism -- Sonicism introduced -- Sonicism motivated : moderate empiricism -- Instrumentation : timbral sonicism introduced -- Scores -- Instrumentation, artistic properties, and aesthetic content -- Levinson's rejoinder -- Sonicism II : against contextualism -- Introduction : formulating contextualism -- Contextualist ontological proposals -- Levinson's doppelgänger thought-experiments -- Artistic, representational, and object-directed expressive properties -- Aesthetic and non-object-directed expressive properties -- Conclusion : the place of context. (shrink)

Whole brain emulation aims to re-implement functions of a mind in another computational substrate with the precision needed to predict the natural development of active states in as much as the influence of random processes allows. Furthermore, brain emulation does not present a possible model of a function, but rather presents the actual implementation of that function, based on the details of the circuitry of a specific brain. We introduce a notation for the representations of mind state, mind transition functions (...) and transition update functions, for which elements and their relations must be quantified in accordance with measurements in the biological substrate. To discover the limits of significance in terms of the temporal and spatial resolution of measurements, we point out the importance of brain region and task specific constraints, as well as the importance of in-vivo measurements. We summarize further problems that need to be addressed. (shrink)

All interpretations of the Portland Vase frieze to date have failed to see, much less explain, a crucial figural attribute in the frieze, one that proves to be both explicit and explicatory, and whose location and appearance secures the identification of not one but, indeed, three figures. Furthermore, the attribute lies at the heart of a distinct schema of figural grouping and arrangement which has also gone unheeded in previous treatments of the Portland Vase frieze. By dint of this previously (...) unknown attribute, one can straightforwardly read the opening scene of the frieze using the attributes therein provided, but the opening scene only. To complete the task, a second methodology–that which I laid out in Arion in 1992–is a categorical sine qua non. One can, as I have already shown, successfully navigate the entire frieze using the second methodology alone but, as so many others have shown, not contrariwise. These new findings–the attribute and figural plan–are clear proof that the artistic vision of the Portland Vase was purposefully executed in a two-part program. (shrink)

In this volume, Randall B. Smith provides a revisionist account of the scholastic culture that flourished in Paris during the High Middle Ages. Exploring the educational culture that informed the intellectual and mental habits of Thomas Aquinas and Bonaventure, he offers an in-depth study of the prologues and preaching skills of these two masters. Smith reveal the intricate interrelationships between the three duties of the master: lectio (reading), disputatio (debate), and praedicatio (preaching). He also analyzes each of Aquinas and (...) Bonaventure's prologues from their student days to their final works, revealing both their artistry and their instructional character. Written in an engaging style, this book serves as an invaluable resource that will enable scholars and students to read thirteenth-century sermons, prologues, and biblical commentaries with greater understanding and ease. (shrink)

Both Jago, in his 2020 article ‘A short argument for truthmaker maximalism’ and his 2021 article ‘Which Fitch?’, and Loss in his 2021 article ‘There are no fundamental facts’, employ arguments similar to that familiar from the Church–Fitch Paradox to infer some substantial metaphysical claims from their mere logical possibility. Trueman in his 2022 article ‘Truthmaking, grounding and Fitch’s paradox’ and Nyseth in his 2022 article ‘Fitch’s paradox and truthmaking’ respond by using exactly the same kind of argument to prove (...) contrary theses. Intended as bad company objections, these counterarguments cast doubt on the original arguments, but do not actually identify their flaw. This paper aims to fill this gap. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bonaventure's Inception Address as Regent Master at Paris:Omnium ArtifexRandall B. SmithInception as Master and the Principium in AulaAfter nineteen years of study at the University of Paris—six in the study of Arts (1235–1241), two lecturing in the Arts (1241–1243), five as auditor theologiae (1243–1248), two as a baccalarius biblicus and as a lector biblicus for the Franciscans (1248–1251), two as a baccalarius sententiarius (1251–1253), and one as a baccalarius (...) formatus (1253–1254)—Bonaventure of Bagnoregio was incepted as magister regens (regent master) around Easter (12 April) in 1254 to replace William of Middleton in the Franciscan chair at the University of Paris.1At that time, the inception ceremonies for an incoming regent master consisted of several parts. On the appointed day, the candidate would be officially received by the chancellor of the university in the ceremonial hall, the aula, of the bishop before the assembled faculty and students of the university. The previous evening would have been spent responding to bachelors and masters in a complex series of "disputed questions."2 But on the morning of the next day, the presiding master would have stood and placed on Bonaventure's head a biretta and said aloud: "I place on you the magisterial biretta in the name of the Father, and of the Son, and of the Holy Spirit. Amen." After birettas had been distributed to the other masters to place on their own heads, the gathered company sat down to hear the new master deliver his inaugural lecture, the principium in aula.According to University regulations, the principium address was to be a praise of sacred Scripture, and although it was one of the high [End Page 211] points in the inception ceremony, the inception address was supposed to be delivered "briefly" (breve) and "quickly terminated" (celeriter terminato).3 When Friar Thomas Aquinas incepted in 1256, two years after Bonaventure, his principium address was completed in about ten minutes. Brother Bonaventure's principium, a translation of which follows this introduction, would require about forty minutes or more to read out loud. But then, as Aquinas himself might have said, "briefly" can be said in several ways.4 A study of earlier principium addresses by other masters shows, moreover, that the length of these addresses varied from master to master.5The Principium in Aula and the Sermo Modernus StyleThe earliest records we have of masters who incepted at Paris reveal that their inception principia addresses were always delivered in the contemporary style of preaching, the so-called "sermo modernus" or "modern sermon" style. There is no need for our present purposes to trace the development of the sermo modernus style, other than to say that its origins lie in the late twelfth and early thirteenth century, and that it had become highly developed, with numerous preaching manuals and reference materials to help preachers master its forms, by the time Thomas and Bonaventure were incepted as masters at Paris, in 1256 and 1254 respectively.6 [End Page 212]In brief, three things were especially characteristic of these thirteenth century sermo modernus style sermons: (1) the thema, a biblical verse, usually from the day's readings that the preacher would use to lend structure and order to the entire sermon; (2) the divisio of the thema, and (3) the dilatatio of each of the parts created by this opening divisio.7The thema verse served as a structuring device which provided an outline of the topics to be covered in the sermon. When the sermon was preached, the thema verse also served as a mnemonic device to help the listeners identify their place within the progress of the whole and then recall the contents of the sermon after it was finished. To recall the contents of the sermon, one merely had to bring to mind the opening thema verse, and each word would suggest the topics the preacher had associated with it.8So, for example, in the principium address Bonaventure delivered at his inception as master, Bonaventure took as his opening thema a verse from Wisdom 7:1, Omnium artifex docuit me sapientia ("The maker of all things... (shrink)

Provides an ideology-critique of Whitehead's and Hartshorne's metaphysics and demonstrates how their metaphysical principles reflect their personal commitments to the values and norms of the modern liberal political ideology.

At the centenary of Frank H. Knight’s Risk, Uncertainty, and Profit (1921), we explore the continuing relevance of Knightian uncertainty to the theory and practice of entrepreneurship. There are three challenges facing such assessment. First, RUP is complex and difficult to interpret. The key but neglected element of RUP is that Knight’s account is not solely about risk and uncertainty as states of nature, but about how an agent’s beliefs about uncertain outcomes and confidence in those beliefs guide their choices. (...) Second, RUP is Knight’s only effort in this area. His subsequent career led elsewhere, so he did not engage with subsequent interpretations of this work. Third, much of the current literature emphasizes that decisions must be different under the two states of nature with a consequent misunderstanding of entrepreneurial agency. This paper addresses each challenge in sequence. First, we explicate Knight’s (1921) approach and explain why that approach is murky. Second, as a complement to Knight’s interpretation, we examine Frank P. Ramsey’s approach to subjective probabilities to help clarify Knight’s murky approach. What links Knight and Ramsey is a shared pragmatism about entrepreneurial agency under uncertainty that depends upon the beliefs about, and confidence in, their judgments of possible outcomes. This Knight-Ramsey approach does not require actor’s behaviors to be determined by the class of uncertain environment (whether risk, uncertainty, or ambiguity) they face. We focus on the response by the entrepreneur to the existence of uncertainty in all its forms. We argue that this reductive account provides a foundation to examine common problems in management, including managerial hubris, the interaction between entrepreneurs and venture capitalists, and the need for experimentation (such as prototyping and market research) in advance of new product and venture launches. Third, we critique current literature that favors epistemic purism about the ontology of risk and uncertainty and ignores Knight-Ramsey pragmatism in meeting uncertainty, such as using formal and informal institutions for uncertainty mitigation. Our account locates Frank Knight’s subtleties in entrepreneurial behavior firmly in the literature on entrepreneurial agency a century later. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bonaventure's Reductio of the Nine Choirs of Angels:How Bonaventure Compressed Two Monumental Traditions into Nine Words and Nine Short PhrasesRandall B. Smith"There is probably no better illustration in medieval thought of how the genius of the symbolic imagination also involves deep speculative insight." So wrote Bernard McGinn of Bonaventure's Itinerarium mentis in deum in The Flowering of Mysticism: Men and Woman in the New Mysticism, 1200–1350.1 There is no (...) question that the Itinerarium is a book suffused with symbolic imagery; so much so, in fact, that it can sometimes seem to lapse into a confusing jumble.Certainly there are many sections of the Itinerarium that have baffled readers over the years, often because Bonaventure's use of imagery is so unique and creative and the truths he is attempting to enunciate are so far beyond our normal ways of thinking about God. But there is a short passage in chapter 4 of the Itinerarium that seems to defy interpretation precisely because of what one might describe as an almost austere terseness and brevity. The point Bonaventure wishes to make is one he communicates in little more than a list of nine words and nine short, parallel phrases.The passage I have in mind is this one in Itinerarium 4.4.When these things have been accomplished, and our spirit has been brought into conformity with the heavenly Jerusalem, it is ordered [End Page 583] hierarchically so that it can ascend upward. For no one enters into that city unless that city has first descended into the person's heart by means of grace, as John sees in his Apocalypse. It descends into the heart when our spirit has been made hierarchical by the reformation of the image, by means of the theological virtues, the enjoyment of the spiritual senses, and the ecstasy of rapture; for it has been purged, illumined and brought to perfection.In this way our spirit is adorned with nine orderly levels when within it the following are found in an appropriate order: announcing, dictating, leading, ordering, strengthening, commanding, receiving, revealing, and anointing. These correspond to the nine choirs of angels. The first three of the foregoing levels in the human mind relate to nature; the next three relate to work; and the final three relate to grace. When it has attained these, the soul, by entering into itself, enters into the heavenly Jerusalem where, as it considers the choirs of angels, it sees in them the God who dwells in them and who works in all their operations.Therefore, Bernard says to Pope Eugene that "God loves in the Seraphim as charity; knows in the Cherubim as truth; sits in the Thrones as justice; reigns in the Dominations as majesty; rules in the Principalities as a guiding principle; protects in the Powers as salvation; is at work in the Virtues as strength; reveals in the Archangels as light; assists in the Angels as kindness." From all this, God is seen as all in all when we contemplate God in our minds where God dwells through the gifts of the most generous charity.2Notice in the passage I have quoted above that Bonaventure says our spirit must be "brought into conformity with the heavenly Jerusalem," and that this requires it be "ordered hierarchically so that it can ascend upward." This serves as a transition into a rather odd pair of lists—one with nine words and the other with nine short, parallel phrases—that Bonaventure associates with the nine angelic choirs. These two lists of the nine choirs of angels do not, however, correspond exactly with one [End Page 584] another, for reasons I will explain below. And although these two lists of the nine ranks of angels in the angelic hierarchy take up just a few lines in Bonaventure's text, there is a lot of background information we will need to fill in to provide the necessary context to appreciate them. Indeed, as we will see, in this short passage, Bonaventure was able using the methods of the thirteenth-century sermo modernus style to reduce two monumental commentary traditions regarding the nine choirs of angels—one that... (shrink)

Waterfowl--ducks, geese, and swans--are a pervasive, ubiquitous element in Etruscan art, just as they are in well-watered Etruria itself. From the formative Villanovan Period though the terminus of Etruscan culture, waterfowl are regularly depicted in a variety of plastic and glyphic media: pottery, painting, metalwork, and stone. Waterfowl are particularly frequent in funerary contexts. Minimal attention, however, has been accorded this unique branch of avians; waterfowl are generally assumed to have little more than decorative value in the present literature, Nonetheless, (...) it can be shown that ducks, geese, and swans were endowed with social, medicinal, magical, and religious significance in ancient culture and, indeed, in most cultures where waterfowl gather in large numbers. A goodly portion of Etruscan art, as well as comparanda from contemporaneous peoples with whom the Etruscans, directly or indirectly, enjoyed economic and cultural intercourse--the Hellenic lands, Asia Minor and Egypt, central and northern Europe--bears out the preceding statement. This study first examines the natural history of the waterfowl of Etruria, as critical an aspect in their deployment as symbols as are the natural behaviors of the snake and lion in their respective symbolisms. Next, the various roles of waterfowl in medicine, magic and mythology, as well as etymological studies of both Etruscan and Indo-European words for "waterfowl" are investigated and analyzed. Certain aspects of Etruscan conceptions of the afterlife that eventually prove germane are also discussed. Analysis of the combined data helps elucidate the meaning of a number of Etruscan monuments in which waterfowl appear, and simultaneously calls for a reassessment of others, e.g., Villanova and later armor (helmets, pectorals, shield); Orientalizing pieces such as the Regolini-Galassi fibula; Archaic and later bronze mirrors; the Aurora Krater; tomb paintings; and duck askoi. To be sure, there are representations of waterfowl in Etruscan art where the birds serve as decorative elements only -- their beauty is universally admired -- but, as have other cultures, the Etruscans saw considerably more in ducks, geese, and swans than just graceful birds gliding about the waters. (shrink)

Too many patients are injured in the course of care. Clinicians may mistakenly cause new harm to a patient or fail to take established steps to improve the presenting condition. Medical institutions within which they work may lack mechanisms to reduce errors or prevent them from harming patients. Many, perhaps even most, injuries are preventable, probably numbering in the hundreds of thousands a year for hospital care alone. Long ignored by medical practitioners and health-care payers and little appreciated by the (...) public, the problem of medical injury is finally receiving high-level policy attention. Much credit goes to the Institute of Medicine for its landmark report of November 1999, which marshaled the evidence about medical injuries and highlighted new approaches to systematic improvement of safety within systems of care. (shrink)

Too many patients are injured in the course of care. Clinicians may mistakenly cause new harm to a patient or fail to take established steps to improve the presenting condition. Medical institutions within which they work may lack mechanisms to reduce errors or prevent them from harming patients. Many, perhaps even most, injuries are preventable, probably numbering in the hundreds of thousands a year for hospital care alone. Long ignored by medical practitioners and health-care payers and little appreciated by the (...) public, the problem of medical injury is finally receiving high-level policy attention. Much credit goes to the Institute of Medicine for its landmark report of November 1999, which marshaled the evidence about medical injuries and highlighted new approaches to systematic improvement of safety within systems of care. (shrink)

Recent advances in the Super Linguistics of pictures have laid the Super Semantic foundation for modelling the phenomena of narrative sequencing and co-reference in pictorial and mixed linguistic-pictorial discourses. We take up the question of how one arrives at the pragmatic interpretations of such discourses. In particular, we offer an analysis of: (i) the discourse composition problem: how to represent the joint meaning of a multi-picture discourse, (ii) observed differences in narrative sequencing in prima facie equivalent linguistic vs pictorial discourses, (...) and (iii) the phenomenon of co-referencing across pictures. We extend Segmented Discourse Representation Theory to spell out a formal Super Pragmatics that applies to linguistic, pictorial and mixed discourses, while respecting the particular ‘genius’ of either medium and computing their distinctive pragmatic interpretations. (shrink)

The focus of this research concentrated on ascertaining the presence of ethical climate types and the level of analysis from which ethical decisions were based as perceived by lodging managers. In agreement with Victor and Cullen (1987, 1988), ethical work climates are multidimensional and multi-determined. The results of this study indicated that: (a) benevolence is the predominate dimension of ethical climate present in the lodging organization as perceived by lodging managers, and (b) the local level of analysis (e.g. immediate workplace (...) norms and values) is the predominate determinant of ethical decisions in the organization.The implication of this study is that the knowledge gained from understanding that ethical decision making in an organization is multidimensional and multi-determined will foster understanding of ethical decision formation in the organizational context. (shrink)