This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Much has been written about recidivist punishments, particularly within the area of criminology. However there is a notorious lack of penal philosophical reflection on this issue. This book attempts to fill that gap by presenting the philosopher’s view on this matter as a way of furthering the debate on recidivist punishments.

"In the same period Wagner was deeply inspired by the works of Shakespeare, an influence that runs throughout this volume. The title essay, "Actors and Singers," is one of Wagner's most deliberate and philosophical writings. He wrote, "Art ceases, strictly speaking, to be Art from the moment it presents itself as Art to our reflecting consciousness. " He described how the unconsciousness of art, and thus art's power, connected natural genius to cultivate traditions.

In an essay in these pages, Jeffrey Friedman charged that Cultural Theory obscures the unity and uniqueness of modern egalitarian individualism; reduces culture to society; ignores history; is only applicable to contemporary, Western politics; provides an unsatisfactory account of preference formation and preference change; and leaves no place for the vitally important debate over what we should prefer. Although some of Friedman's criticisms stem from a misreading or strained reading of Cultural Theory, others raise vitally important questions not only about (...) Cultural Theory but social theory generally. My reply to Friedman offers not just a defense of the particular categorization of cultures used in Cultural Theory, but a defense of the entire enterprise of constructing general social theories that seek to discern transhistorical patterns in the all too evident diversity and contingency of history. (shrink)

Photography in Colorado was encouraged as early as 1861, when newspaper editor William Byers wrote in the Rocky Mountain News, "Secure the shadow, ere the substance perish," and roused the citizenry to take photographs of their families, friends, landscape, homes, and mills in order to document their lives and share them with others. The revised edition of Colorado: A History in Photographs draws on this rich legacy, portraying Colorado's history in images taken from the frontier era to the present, all (...) accompanied by a vivid, updated narrative. Presenting a broad view of countless aspects of life in Colorado and including 270 black-and-white photographs, this book will inform, entertain, and inspire all those who delight in learning more about the history of the Centennial State. (shrink)

In an essay in these pages, Jeffrey Friedman charged that Cultural Theory obscures the unity and uniqueness of modern egalitarian individualism; reduces culture to society; ignores history; is only applicable to contemporary, Western politics; provides an unsatisfactory account of preference formation and preference change; and leaves no place for the vitally important debate over what we should prefer. Although some of Friedman's criticisms stem from a misreading or strained reading of Cultural Theory, others raise vitally important questions not only about (...) Cultural Theory but social theory generally. My reply to Friedman offers not just a defense of the particular categorization of cultures used in Cultural Theory, but a defense of the entire enterprise of constructing general social theories that seek to discern transhistorical patterns in the all too evident diversity and contingency of history. (shrink)

Misuse or misunderstanding of medication information is a common and costly problem in the U.S. The risks of misunderstanding medication information are compounded for the large and growing population of individuals with limited English proficiency that often lacks access to this information in their own language. This paper examines practices related to translation of medication information in the European Union that may serve as a model for future U.S. policy efforts to improve the quality and availability of medication information for (...) individuals with limited English proficiency. (shrink)

Access to clear and concise medication information is essential to support safe and effective use of prescription drugs. Patient misunderstanding of medication information is a common reason for non-adherence to medication regimens and a leading cause of outpatient medication errors and adverse drug events in the U.S. Medication errors are the most common source of risk to patient safety, leading to poor health outcomes, hospitalizations, and deaths. Over half a million adverse drug events occur in the outpatient setting each year (...) at a cost of approximately $1 billion annually.Nearly half of adults in the U.S. experience difficulty understanding and acting upon health information. Even individuals with high levels of general literacy may find medication information difficult to understand or use. The risk of misunderstanding medication information is compounded for patients with limited English proficiency who may not have access to this information in their own language. (shrink)

The notion of community infers unity and a source of moral obligations in an organisational ethic between individuals or groups. As such, a community, having a strong sense of collective identity, may foster collective action to promote social change for the betterment of society. This research critically explores notions of community through analysing discursive identity construction practices within a member-owned urban consumer co-operative public house in the UK. A strong sense of community is an often-claimed CC characteristic. The paper’s main (...) contributions stem from using the lens of identity work to critically unpack the notion of community through highlighting paradoxical tensions of community residing within CCs. The findings reveal that the notion of community may be illusionary with counter-veiling forces, one that reflects a more traditional sense of connection, attachment and communion, and the other of boundaries, disconnection or division. As these repertoires collide, tensions are evident between the hegemonic discourse of neoliberal managerialism and that of democratic collective ownership. Despite these individual-level tensions, communities may operate within boundaries enabling an organisational and societal ethic, beyond the individual. (shrink)

Recent work on trauma, especially in the field of Holocaust studies, has tackled the question of how the “generation after” relates, and relates to, the trauma of its immediate ancestors as it navigates between the poles of remembrance and appropriation. Other studies have shifted focus towards the effects of trauma upon narration, in part through critiquing the prevailing psycho-analytic model of trauma as an unrepresentable event that evades/forecloses language. Aeschylus’ Suppliants, with its chorus of fifty female Danaids who react to (...) their traumatic present by recourse to tales of the traumatic past of their ancestor Io and her son Epaphos, offers a productive stage for testing the applicability of these theoretical frames to the genre of ancient Greek tragedy. The Danaids’ turn to the past explores the agency of an ancestral trauma that reaches into their present, and in doing so highlights the unsteady inheritance of trauma both for those who relate and for those who witness these acts of testimony. The act of supplication itself is defined in part by physical contact between the suppliant and the supplicandus, yet this ritual emphasis on touch is amplified by the play’s consistent focus upon a series of real and hypothesized touches, from the traumatic to the salvific. Through this engagement with the haptic context of trauma and traumatic recall, Aeschylus’ play proposes an enlarged aetiology of touch—across cognitive, affective, and physical registers—for the ritual of supplication itself. (shrink)

I am concerned with the metaphilosophical questions of how we are to proceed when doing philosophy, and whether there is more than one way of achieving our aim. These questions are tackled initially by an examination of the answers given by Richard Double in his book Metaphilosophy and Freewill. It is argued that the considerations he rehearses in favour of metaphilosophical relativism are inconclusive, and that, in any case, it is a position that contains serious internal difficulties. An analogy (...) is made with the problems encountered by Hume's sceptical theory of the self, and it is suggested that Double, like Hume, is implicitly presupposing the conclusion he is seeking to deny. He does so by relying upon certain critical procedures in the course of his argument. Next, I consider how Double might respond to this criticism, and it is concluded that such a rejoinder fails. Finally, I return to the questions which served as the starting point of this discussion, and I apply the conclusions I have reached to their possible resolution. It is claimed that a form of rationalism has been vindicated. (shrink)

ABSTRACT I offer an approach to the problem of life’s meaning which poses a radical challenge to some of the familiar terms of this debate. First, I defend an expansive form of naturalism which involves a rejection of the common assumption that naturalism and theism are logically incompatible and offers a framework from which to rethink some of the central concepts operative in discussions of life’s meaning. Second, I defend a ‘desire solution’ to the problem of life’s meaning. My initial (...) inspiration is Richard Taylor’s version of such a position as articulated in his book Good and Evil. I argue that this solution is best articulated from within an expansive naturalist framework, raise some doubts about Taylor’s metaphysics, and make a connection with the Nietzschean problem of nihilism. (shrink)

With Richard Wagner, opera reached the apex of German Romanticism. Originally published in 1851, when Wagner was in political exile, Opera and Drama outlines a new, revolutionary type of musical stage work, which would finally materialize as The Ring of the Nibelung. Wagner's music drama, as he called it, aimed at a union of poetry, drama, music, and stagecraft. ø In a rare book-length study, the composer discusses the enhancement of dramas by operatic treatment and the subjects that make (...) the best dramas. The expected Wagnerian voltage is here: in his thinking about myths such as Oedipus, his theories about operatic goals and musical possibilities, his contempt for musical politics, his exaltation of feeling and fantasy, his reflections about genius, and his recasting of Schopenhauer. ø This edition includes the full text of volume 2 of William Ashton Ellis's 1893 translation commissioned by the London Wagner Society. (shrink)

In this response, George Ellis comments on the publications of Part IV. He responds first to James Woodward, Richard Healey, Jan Voosholz, Simon Friederich and Sach Mukherjee, before outlining his thoughts on Max Kistler’s piece.

Musical genius, polemicist, explosive personality-that was the nineteenth-century German composer Richard Wagner, who paid as much attention to his reputation as to his genius. Often maddening, and sometimes called mad, Wagner wrote with the same intensity that characterized his music. The letters and essays collected in Judaism in Music and Other Essays were published during the 1850s and 1860s, the period when he was chiefly occupied with the creation of The Ring of the Nibelung. Highlighting this collection is the (...) notorious 1850 article "Judaism in Music, " which caused such a firestorm that nearly twenty years later Wagner published an unapologetic appendix. Other prose pieces include "On the Performing of Tannhauser, " written while he was in political exile; "On Musical Criticism, " an appeal for a more vital approach to art undivorced from life; and "Music of the Future." This volume concludes with letters to friends about the intent and performance of his great operas; estimations of Liszt, Beethoven, Mozart, Gluck, Berlioz, and others; and suggestions for the reform of opera houses in Vienna, Paris, and Zurich. The Bison Book edition includes the full text of volume 3 of William Ashton Ellis's 1894 translation commissioned by the London Wagner Society. (shrink)

"One might say that where Religion becomes artificial, it is reserved for Art to save the spirit of religion." With these words Richard Wagner began "Religion and Art" (1880), one of his most passionate essays. That passion made Wagner himself a central icon in the growing cult of art. Wagner felt that he lived in an age of spiritual crisis. "It can but rouse our apprehension, to see the progress of the art-of-war departing from the springs of moral force, (...) and turning more and more to the mechanical," he wrote. In response to the frightening progress of dynamite and steel, Wagner adopted the role of the Tone Poet Seer, who reveals the inexpressible in concert halls and cleanses souls in waves of symhonic revelation. "Religion and Art" is the pivot of the works collected here. Also included are his defining essays "Public and Popularity" and "The Public in Time and Space"; his papers relating to the creation of the Bayreuth School; his complaint against publishers, "On Poetry and Composition" (1879); his article on the first production of Parsifal (1882); and other works that speak his mind about strengthening the spirit through music. These works participated in the duel between Wagner and Nietzsche that ensued after the breakup of their friendship in 1878. Nietzsche publicly called Wagner an incurable romantic, emphasizing how sick he thought both Wagner and his art were. Here Wagner counterattacks with arch innuendo and sarcasm. This edition includes the complete volume 6 of the 1897 translation of Wagner's works commissioned by the London Wagner Society. William Ashton Ellis is one of the most important translators of nineteenth-century musicology. In addition to his monumental translation of Wagner's prose works, he translated Wagner's correspondence with Franz Lizst, Mathilde Wesendonck, and Wagner's own family. Ellis died in 1919. (shrink)

Originally published in 1990, _Psychoanalysis and…_ brings together essays by critics whose work demonstrates the lively interpenetration of psychoanalysis and other disciplines. Andrew Ross investigates psychoanalysis and Marxist thought; Joel Fineman reads the "sound of O" in Othello; Jane Gallop asks "Why does Freud giggle when the women leave the room?"; and Ellie Ragland-Sullivan examines Lacan’s seminars on James Joyce. This stimulating collection of work should still be required reading, especially for students of literature. But _Psychoanalysis and… _demonstrates that psychoanalysis (...) – and theoretical criticism, and feminism, and Lacanian theory, and semiotics, and Marxism, and deconstruction, and literary criticism – was, at the time, a rich and expanding terrain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Decline of Literary CriticismRichard A. PosnerRónán McDonald, a lecturer in literature at the University of Reading, has written a short, engaging book the theme of which is evident from the title: The Death of the Critic. Although there is plenty of both academic and journalistic writing about literature, less and less is well described by the term "literary criticism." The literary critics of the first two-thirds or so (...) of the twentieth century, now dead, including poets and other creative writers, such as T. S. Eliot, journalists such as Edmund Wilson, and academic literary critics, as distinct from literary scholars, such as F. R. Leavis in England and Cleanth Brooks in the United States, have so few successors that the very genre, if not yet dead, is moribund.1 McDonald deplores the decline of literary criticism and seeks to explain its causes.In place of literary criticism, McDonald (and many others, such as John Ellis) argue, we have postmodern literary theory, an animal of quite a different color from literary criticism.2 "Texts... are interpreted and analysed with a view to unlocking the social norms and attitudes encoded therein, not assessed or evaluated as integral, self-contained creations" (McDonald, p. 21). "The 'best' [is regarded] as a politically dubious category, with selections made in its name often nurturing hidden and hierarchical agendas"(p. ix). "In a comparatively short time, [End Page 385] academic literary criticism has been transformed. Many [literary critics] now regard social activism as the major purpose of literary criticism." And "people who write about literature now write in a prose thick with impenetrable jargon," which erects a barrier between literary theory and literature.3 The well documented decline in the reading of literature has many causes but one may be the obscurantist and politicized style of teaching literature that is in vogue in many colleges.4But something deeper is involved. After all, most literary teachers are not postmodernists. What has happened is the professionalization, in not altogether a good sense, of literary studies. Let me illustrate. More than half a century ago, Cleanth Brooks published what became a famous book of literary criticism, consisting of close readings of famous poems.5 The New Critics were much taken with the metaphysical poets, the most prominent of whom was John Donne, and the high point of Brooks's book was his brilliant close reading of "Canonization," one of Donne's most famous love poems. Just this year (2008) a professor of literature named Ramie Targoff published John Donne, Soul and Body, which has an extensive treatment of Donne's love poetry, though it does not mention "Canonization." As far as I can judge, Targoff's book is a fine scholarly achievement—well written (and not defaced by jargon), thoroughly researched, thoughtful, imaginative. She argues that contrary to some scholars who have regarded Donne as a Neoplatonist who therefore believed that the highest love is purely spiritual (as it was for Plato), he was, throughout his career—even when he became a fiercely devout Anglican cleric writing fervid religious verse—a believer that body and soul were one in all activities, including sexual love; hence the religious imagery in "Canonization," emphasized by Cleanth Brooks, who would I think have found Targoff's analysis congenial. Her book is I would guess a model of modern literary scholarship.But here is the difference between Brooks's book, and specifically his discussion of Donne's poem, and Targoff's. Brooks, who though a distinguished Yale English professor did not have a Ph.D., wrote for a mixed audience—academics, students, the general reader—and he made the nonacademic members of that audience want to read Donne, or read more Donne, or re-read Donne with greater understanding and enjoyment. Targoff writes for other scholars of early modern English literature. Someone else who chances on the book (like me) may read it and think well of it, but unless one has esoteric religious or philosophical interests the experience of reading her book will not quicken one's [End Page 386] interest in reading Donne's poetry—which is a great shame, given the state of the literary culture... (shrink)

In this remarkable study, David A. J. Richards combines an interpretive history of culture and law, political philosophy, and constitutional analysis to explain the background, development, and growing impact of two of the most important and challenging human rights movements of our time, feminism and gay rights. Richards argues that both movements are extensions of rights-based dissent, rooted in antebellum abolitionist feminism that condemned both American racism and sexism. He sees the progressive role of such radical dissent as an emancipated (...) moral voice in the American constitutional tradition. He examines the role of dissident African Americans, Jews, women, and homosexuals in forging alternative visions of rights-based democracy. He also draws special attention to Walt Whitman's visionary poetry, showing how it made space for the silenced and subjugated voices of homosexuals in public and private culture. According to Richards, contemporary feminism rediscovers and elaborates this earlier tradition. And, similarly, the movement for gay rights builds upon an interpretation of abolitionist feminism developed by Whitman in his defense, both in poetry and prose, of love between men. Richards explores Whitman's impact on pro-gay advocates, including John Addington Symonds, Havelock Ellis, Edward Carpenter, Oscar Wilde, and André Gide. He also discusses other diverse writers and reformers such as Margaret Sanger, Franz Boas, Elizabeth Stanton, W. E. B. DuBois, and Adrienne Rich. Richards addresses current controversies such as the exclusion of homosexuals from the military and from the right to marriage and concludes with a powerful defense of the struggle for such constitutional rights in terms of the principles of rights-based feminism. (shrink)

This book presents Robert S. Hartman’s formal theory of value and critically examines many other twentieth century value theorists in its light, including A.J. Ayer, Kurt Baier, Brand Blanshard, Paul Edwards, Albert Einstein, William K. Frankena, R.M. Hare, Nicolai Hartmann, Martin Heidegger, G.E. Moore, P.H. Nowell-Smith, Jose Ortega y Gasset, Charles Stevenson, Paul W. Taylor, Stephen E. Toulmin, and J.O. Urmson.

Saeculum: Gedenkschrift für Heinrich Otten anlässlich seines 100. Geburtstags. Edited by Andreas Müller-Karpe; Elisabeth Rieken; and Walter Sommerfeld. Studien zu den Boǧazköy-Texten, vol. 58. Wiesbaden: Harrassowitz Verlag, 2015. Pp. xi + 316, illus. €84.

While it seems to be evident that the vision of the eternal return of the same is the solution to the riddle mentioned in "On the vision and the riddle," exactly what constitutes the riddle is anything but clear. Li ke all good riddles the solution demands a paradigm shift. Nietzsche's riddle is solved by a radical rethinking of the concept of time, from a straight line to a circle. I give a detailed account of how Nietzsche's riddle is formulated (...) in such a way tha t the eternal return of the same is the only possible solution. (shrink)

Knowledge and expertise -- Knowledge and action -- The nature of professional action in urban planning.