This book offers both the theoretical background behind the minority effect, teachers' personal experiences as they experienced being a minority, and their analyses and insights for teaching diverse learners. This book uses real-life experiences of diverse people to illustrate that, if not understood and addressed, situational minorities at school or work are unlikely to perform at their highest potentials.

This paper provides an exploration of whistleblowing as a protracted process, using secondary data from 868 cases from a whistleblower advice line in the UK. Previous research on whistleblowing has mainly studied this phenomenon as a one-off decision by someone perceiving wrongdoing within an organisation to raise a concern or to remain silent. Earlier suggestions that whistleblowing is a process and that people find themselves inadvertently turned into whistleblowers by management responses, have not been followed up by a systematic study (...) tracking the path of how a concern is repeatedly raised by whistleblowers. This paper provides a quantitative exploration of whistleblowing as a protracted process, rather than a one-off decision. Our research finds that the whistleblowing process generally entails two or even three internal attempts to raise a concern before an external attempt is made, if it is made at all. We also find that it is necessary to distinguish further between different internal as well as external whistleblowing recipients. Our findings suggest that whistleblowing is a protracted process and that this process is internally more protracted than previously documented. The overall pattern is that whistleblowers tend to search for a more independent recipient at each successive attempt to raise their concern. Formal whistleblower power seems to determine which of the available recipients are perceived as viable and also what the initial responses are in terms of retaliation and effectiveness. (shrink)

In 1665–1666, both Margaret Cavendish and Robert Hooke wrote about the beard of a wild oat. After looking through the microscope at the wild oat, Hooke describes the nature of what he is seeing in terms of a “small black or brown bristle” and believes that the microscope can improve the human senses. Cavendish responds to him regarding the seeing of the texture of a wild oat through the microscope and critiques his mechanistic explanation. This paper takes up the controversy (...) between Cavendish and Hooke regarding the wild oat as two forms of a broadly Baconian enterprise. Challenging Lisa Walters and Eve Keller, who suppose that Cavendish was against the “Baconian enterprise as a whole,” the argument in this paper is that Cavendish is opposed to Hooke’s defense of instruments as recovering Edenic glory in the Micrographia, but not to the Baconian enterprise as a whole. (shrink)

This article examines Dostoevsky's "fantastic realism," which challenges the explanation of rationalism or empiricism in the need for determinate categories fixed in nature. His use of paintings by Hans Holbein, Claude Lorrain, and Raphael in terms of the sublime and beautiful exemplify an understanding of Holy Saturday and its status between death and resurrection. Julia Kristeva's reading of Dostoevsky's melancholy as exemplifying a religious ideal and William Desmond's metaxological philosophy allows us to propose a terminology that rhymes with Dostoevskian between-ness, (...) a conclusion that does not resolve the space between the beautiful and the sublime but remains open to the confessional enigmatic liminality that is Holy Saturday. (shrink)

From the end of the seventeenth century to now well into the 21st, John Locke’s theory of personal identity has been foundational in the field of philosophy and psychology. Here we suggest that there are two fundamental threads intertwined in Lockean identity, the flux of perception-thought-action (i.e. continuity of consciousness) and memory. Using Maurice Merleau-Ponty, Paul Ricoeur, and Bernard Steigler as guides we will see that these threads constitute a phenomenological self (l’ésprit), a lived experience of our identity that is (...) not only perhaps the most essential component of our humanity, but also the most threatened in today’s ongoing, commercial convergence of the real and the virtual in the “Age of Disruption”. (shrink)

Philosophy begins in wonder, according to Plato and Aristotle. However, they did not expand a great deal on what precisely wonder is. Does this fact alone not raise curiosity in us as to why this passion is important? What is its role in our thinking except to end as soon as one begins conceptually delimiting its nature? The thinkers Thomas Hobbes and René Descartes both expanded upon earlier brief articulations of wonder in natural, supernatural and practical ways. By means of (...) an historical and philosophical examination of these two early modern thinkers, this article hopes to begin to answer the question: ‘What is wonder?’. (shrink)

Philosophy begins with wonder, according to Plato and Aristotle. Yet Plato and Aristotle did not expand a great deal on what precisely wonder is. Does this fact alone not raise curiosity in us as to why this passion or concept is important? What is wonder.

In the Critique of the Power of Judgment , Kant mentions transcendental and physiological judgments in their relationship to the sublime. He further mentions that for the best physiological treatment, one must look to Edmund Burke’s A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful . Whereas for Burke, the feeling of the sublime “is based on the impulse toward self-preservation and on fear,” for Kant it is the mind that “is not merely attracted by (...) the object, but is also always reciprocally repelled by it,” which provides the basis for the transcendental exposition of aesthetic judgements. How does a reading of Burke in which “we shrink into the minuteness of our own nature, and are, in a manner, annihilated before the almighty power,” on the one hand, and Kant’s view of relation and purposiveness in transcendental judgements, on the other hand, aid us in a deeper understanding of the fear of God? Furthermore, how might these two authors connect or interact with contemporary theories of emotion, specifically the discussion of ‘ambivalent emotions’? In this paper, I hope to both open a discussion of Burke and Kant in relation to their respective readings of the sublime and the fear of God as well as open a discussion of emotions regarding a ‘mighty object’ to whom my ambivalent emotion is directed. (shrink)

This paper argues that Jan Patočka and Paul Ricoeur endured their own cognitive-spiritual crisis, particularly during the development and outbreak of war in the 1930s. Their philosophies of history are thus, on the one hand, born of a rethinking of modern philosophy from the time of Galileo and Descartes, and on the other, a suffering of crisis that Europe itself was suffering. Stemming from the historical and philosophical context of Husserl’s epistemology in the Krisis, both Ricoeur and Patočka had to (...) confront history and the decadence of European sciences, as it concerns the difficulty of remembering the past and describing events in history. These responses to the problem of modern philosophy and science in Europe point to the symptom of spiritual crisis due to ‘modern man’ having no unified worldview. By means of care of the soul and the challenging of the state in action, a hermeneutics of peace emerges from their spiritual crises. (shrink)

To what extent does dance contribute to an ideal of beauty that can enrich human quality of life? To what extent are standards of beauty predicated on an ideal human body that has no disability? In this chapter, we show how conceptions of proportionality, perfection, and ethereality from the Ancient Greeks through the 19th century can still be seen today in some kinds of dance, particularly in ballet. Disability studies and disability-inclusive dance companies, however, have started to change this. The (...) disabled person can be beautiful, we will show, in dance and in life, under a disability aesthetics that follows Edmund Burke (1730-1797) and that suggests an alternative standard of beauty, which we call “beauty-in-experience,” where beauty is perceived in the qualitative experience of abled and disabled dancers moving together in dance. (shrink)

Like number representation, basic arithmetic seems to be a natural candidate for abstract instantiation in the brain. To investigate this, researchers have examined effects of numeral format on elementary arithmetic (e.g., 4+5 vs. four+five). Different numeral formats often recruit distinct processes for arithmetic, reinforcing the conclusion that number processing is not necessarily abstracted away from numeral format.

Tumor necrosis factor (TNF) receptor associated factor 6 (TRAF6) is a crucial signaling molecule regulating a diverse array of physiological processes, including adaptive immunity, innate immunity, bone metabolism and the development of several tissues including lymph nodes, mammary glands, skin and the central nervous system. It is a member of a group of six closely related TRAF proteins, which serve as adapter molecules, coupling the TNF receptor (TNFR) superfamily to intracellular signaling events. Among the TRAF proteins, TRAF6 is unique in (...) that, in addition to mediating TNFR family signaling, it is also essential for signaling downstream of an unrelated family of receptors, the interleukin‐1 (IL‐1) receptor/Toll‐like receptor (IL‐1R/TLR) superfamily. Gene targeting experiments have identified several indispensable physiological functions of TRAF6, and structural and biochemical studies have revealed the potential mechanisms of its action. By virtue of its many signaling roles, TRAF6 represents an important target in the regulation of many disease processes, including immunity, inflammation and osteoporosis. BioEssays 25:1096–1105, 2003. © 2003 Wiley Periodicals, Inc. (shrink)

Attracting philosophers, politicians, artists as well as the educated reader, Edmund Burke’s Philosophical Enquiry, first published in 1757, was a milestone in western thinking. This edited volume will take the 250th anniversary of the Philosophical Enquiry as an occasion to reassess Burke’s prominence in the history of ideas. Situated on the threshold between early modern philosophy and the Enlightenment, Burke’s oeuvre combines reflections on aesthetics, politics and the sciences. This collection is the first book length work devoted primarily to Burke’s (...) Philosophical Enquiry in both its historical context and for its contemporary relevance. It will establish the fact that the Enquiry is an important philosophical and literary work in its own right. (shrink)

Research suggests that typically developing children begin to understand verbal irony around 5 or 6 years of age. Children's production of verbal irony, however, has not previously been examined. This study was a preliminary investigation of children's irony production, including both verbal and gestural (nonverbal) forms. We coded instances of irony in interactions within 118 family triads, each consisting of 1 parent and 2 children, aged 3 to 15 years. Triads performed an 8-min cooperative task with dominos. In this context, (...) gestural irony was used more frequently than verbal irony: 80% of the families used gestural irony at least once and 32% used verbal irony at least once. Children produced gestural irony as early as 4 years of age, and verbal irony as early as 5 years of age. Children's use of irony was not related to their general cognitive ability or vocabulary, but was related to use of irony by other members of the triad. Results suggest that social context is important to the emergence of irony production. (shrink)

The contributions in this book address the relation between evil, symbolism and psychoanalysisc by focusing on the two works of Riœur in which these topics play the most prominent role: The Symbolism of Evil and Freud and Philosophy. Furthermore, the bilingual book includes contributions that examine the relation between evil, symbolism and psychoanalysis in Ricœur’s work in a more general fashion, by investigating his philosophy as a whole. It brings together both French and English chapters from leading Ricœur scholars from (...) over the world. The international multilinguistic perspective reflects Ricœur’s spirit who said that when he worked on a book, all of the others were simultaneously open on his writing table. It is a groundbreaking work to those interested in Ricœur, Freud and religion. (shrink)

Memory is everywhere in Blade Runner 2049. From the dead tree that serves as a memorial and a site of remembrance (“Who keeps a dead tree?”), to the ‘flashbulb’ memories individuals hold about the moment of the ‘blackout’, when all the electronic stores of data were irretrievably erased (“everyone remembers where they were at the blackout”). Indeed, the data wiped out in the blackout itself involves a loss of memory (“all our memory bearings from the time, they were all damaged (...) in the blackout”). Memory, and lack of it, permeates place, where from the post-blackout Las Vegas Deckard remembers it as somewhere you could “forget your troubles.” Memory is a commodity, called upon and consumed by the Wallace Corporation, purchased from the memory-maker, Dr Ana Stelline, who constructs and implants “the best memories” in replicants so as to instil in them real human responses. Memory is ubiquitous in Blade Runner 2049, involving humans, replicants, objects, and machines. Even “God,” we are told, “remembered Rachael.” Nowhere, though, is the depiction of memory more important than in the attempt to solve a question of identity. Officer K has a memory of his past. Even though he knows it is an implant, it is a memory he is emotionally attached to, frequently narrating it to Joi, his digital girlfriend. But it is a memory that starts to puzzle and trouble him. When K discovers the remains of a dead replicant, a female NEXUS-7, he uncovers a secret—this replicant was pregnant and died during childbirth, a discovery that could “break the world.” K is charged with hunting down the child and making the problem disappear. Yet as K starts seeking answers to the question of the child’s identity he gets inextricably caught up in the mystery. Is he merely Officer K, or is he Joe, the miracle child of Rachael and Deckard? The answer to this question hinges on K’s memory. But is the memory genuine? Is the memory his? Blade Runner 2049 encourages us to think deeply about the nature of memory, identity, and the relation between them. Indeed, the film does not just serve as a starting point for thinking about philosophical issues related to memory and identity. Rather, as we show in this chapter, the film seems to offer a view on these philosophical issues. Blade Runner 2049 offers us a view of memory as spread out over people, objects, and the environment, and it shows us that memory’s role in questions of identity goes beyond merely accurately recalling one’s past. Identity depends not on memory per se, but partly on what we use memory for. (shrink)

Despite its oft-noted ambiguities, critical reception of Ridley Scott's Blade Runner ; Director's Cut ; Final Cut ) has tended to converge upon seeing it as a futuristic sci-fi film noir whose central concern is what it means to be human, a question that is fraught given the increasingly human-like replicants designed and manufactured by the Tyrell Corporation for human use on off-world colonies. Within the terms of this way of seeing things a great deal of discussion has been devoted (...) to putative criteria of being human and the question whether the once-retired blade runner, Rick Deckard, is or is not a replicant. I aim to explore a radically different course of interpretation, which sees the film in fundamentally moral and religious terms. Put in the starkest light, the film is not about what makes us human but whether we can be saved from ourselves, from our terrifying inhumanity, our moral blindness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 54-82 [Access article in PDF] Seeing With The Body The Digital Image In Postphotography Mark B. N. Hansen In a well-known scene from the 1982 Ridley Scott film Bladerunner, Rick Deckard scans a photograph into a 3-D rendering machine and directs the machine to explore the space condensed in the two-dimensional photograph as if it were three-dimensional [see fig. 1]. Following Deckard's commands to (...) zoom in and to pan right and left within the image space, the machine unpacks the "real" three-dimensional world represented by the two-dimensional photograph [see figs. 2-3]. After catching a glimpse of his target—a fugitive replicant—reflected from a mirror within the space, Deckard instructs the machine to move around behind the object obstructing the two-dimensional photographic view of the replicant and to frame what it sees [see figs. 4-5]. Responding to the print command issued by Deckard, the machine dispenses a photograph of the replicant which is, quite literally, a close-up of an invisible—indeed nonexistent—part of the two-dimensional original [see fig. 6]. And yet, following the fantasy of this scene, this impossible photograph is—or would be—simply the image of one particular data point within the data set comprising this three-dimensional data space. As fascinating as it is puzzling, this scene of an impossible rendering—a rendering of two-dimensional data as a three-dimensional space—can be related to the crisis brought to photography by digitization in two ways. On the one hand, in line with the film's thematic questioning of photography as a reliable index of memory, this scene foregrounds the technical capacity of digital processing to manipulate photographs. In this way, it thematizes the threat posed by digital technologies to traditional indexical notions of photographic realism. On the other hand, in what has turned out to be a far more prophetic vein, the scene presents a radically new understanding of the photographic image as a three-dimensional "virtual" space. Such an understanding presupposes a vastly different material existence of the photographic image: instead of a physical inscription of light on sensitive paper, the photograph has become a data set that can be rendered in various ways and thus viewed from various perspectives.The first position corresponds to the arguments made by William Mitchell in his now classic book, The Reconfigured Eye. In a comprehensive analysis of the techniques and possibilities of digital imaging, Mitchell concentrates on demarcating the traditional photographic image from its digital doppelgänger. While the specter of manipulation has always haunted the photographic image, it remains the exception rather than the rule: "There is no doubt that extensive reworking of photographic images to produce seamless transformations and combinations is technically difficult, time-consuming, and outside the mainstream of photographic practice. When we look at photographs we presume, unless we have some clear indications to the contrary, that they have not been reworked" [Mitchell 7]. To buttress this claim, Mitchell sketches three criteria for evaluating traditional photographic images: (1) does the image follow the conventions of photography and seem internally coherent? (2) does the visual evidence it presents [End Page 54]Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click for larger viewFigure 1Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="32" />Click for larger viewFigure 2Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click... (shrink)