The first truly introductory text on Lyotard, this book situates Lyotard's interventions in the postmodern debate in the wider context of his rethinking of the politics of representation. Bill Readings examines Lyotard's relationship to structuralism, Marxism and semiotics, and contrasts his work with the literary deconstruction of Paul de Man; he positions Lyotard's work so as to draw out the implications of poststructurlaism's attention to _difference_ in reading. Lyotard's willingness to question the political and examine the relationship between (...) art and politics is shown to undermine the charge that deconstruction abdicates political and social articulation. (shrink)

The surge of interest in Jean-Francois Lyotard's writings has pushed him into the centre of debate on the postmodern.

The political writings of Jean-Francois Lyotard, the prophet of the postmodern, are presented here as both the missing dimension of his work and the key to understanding his position within contemporary debate.

A timely new edition of the classic journalism guide, now featuring updated material on the importance of reporting in the age of media mistrust and fake news--and how journalists can use technology while also navigating its challenges. More than two decades ago, the Committee of Concerned Journalists gathered some of America's most influential newspeople to ask the question "What is journalism for?" Through exhaustive research, surveys, interviews, and public forums, they identified the essential elements that define journalism and its role (...) in our society. The result is one of the most important books on the media ever written, winner of the Goldsmith Book Prize from Harvard, the Society of Professional Journalists Award, and the Bart Richards Award from Penn State University. Updated with new material covering the ways journalists can deftly leverage technology to their advantage, especially given the shifting revenue architecture--with "clickbait" fading away and consumers paying a higher premium for quality reporting--this fourth edition of The Elements of Journalism is an essential read for journalists, students, and anybody hoping to stay informed in contentious times. (shrink)

… [T]o trace the problematic of writing in the Norris canon is foremost to confirm Fried’s claims about its pervasiveness. Indeed, he now intimates that the problematic pervades the fiction of “other important writers of the 1890s and early 1900s,” work by Jack London, Harold Frederic, and Henry James . On the one hand, this pervasiveness muddies an already ambivalent use of the term impressionism ;10 on the other hand, it augments Fried’s sense that the thematization of writing attained particular (...) moment in the late nineteenth and early twentieth centuries. To my eye, nonetheless, the moment dissolves once its historical isolationism confronts “literary history.” 10. Fried explicitly addresses this ambivalence, explaining that “I am unpersuaded by the many attempts that have been made to define that concept either in relation to French impressionist painting or in terms of a fidelity to or evocation of the ‘impressions’ of one or more characters , but I see no comparably useful designation for the global tendency that Crane, Norris, and Conrad all instantiate” . The term, as I see it however, serves precisely to exclude the global tendency as it is instantiated elsewhere. And yet, to the degree that “impressionism” can now designate a confrontation between the sight of writing and the impressionist emphasis on sight as traditionally understood, Fried, despite all disclaimers, revivifies that tradition . Bill Brown, assistant professor of English at the University of Chicago, is presently completing a book on the “economy of play” in the work of Stephen Crane. (shrink)

How do issues of form and content shape the documentary film? What role does visual evidence play in relation to a documentary’s arguments about the world we live in? In what ways do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? Can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways documentaries (...) strive for accuracy and truthfulness and simultaneously fabricate a form that shapes reality. Such films may rely on reenactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor or devices such as irony to make a point. Documentaries are truly a fiction unlike any other. With clarity and passion, Nichols offers incisive commentaries on the basic questions of documentary’s distinct relationship to the reality it represents, as well as close readings of provocative documentaries from this form's earliest days to its most recent incarnations. These essays offer a definitive account of what makes documentary film such a vital part of our cultural landscape. (shrink)

In Learner Agency: Building the Mindset and Skill Set of Hope in Our Classrooms, author Bill Zima clarifies what student agency looks and sounds like in the classroom. Zima introduces a framework that K-12 educators can use to organize their instructional practice to create opportunities and the right conditions that give learners control over their thinking. When teachers deliberately plan and structure lessons with the goal of developing student agency, they shift away from simply delivering content to encouraging students (...) to become active participants in their learning. By reading Learner Agency, teachers and leaders will discover research-based strategies for supporting and cultivating students' ability to build agency within themselves. (shrink)

Psychiatry is unique in medicine in being on the border between science and the humanities. Science provides insight into the 'causes' of a problem, enabling us to formulate an 'explanation', while the humanities provide insight into its 'meanings' and helps with our 'understanding'. The new interdisciplinary field of 'philosophy of psychiatry' has developed to explore the range of issues relevant to this border country. The Oxford Textbook of Philosophy and Psychiatry is a unique textbook which provides a detailed introduction to (...) the field, a framework for study and skill development, and an overview of current research. It focuses on case studies in 5 key topic areas. Each case study is supported by selected readings from both philosophy and mental health, thinking skills exercises, self-test questions, key learning points and detailed guides to further reading. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Friends and Other Strangers: Studies in Religion, Ethics, and Culture by Richard B. MillerBill BarbieriFriends and Other Strangers: Studies in Religion, Ethics, and Culture Richard B. Miller new york: columbia university press, 2016. 416 pp. $60.00In his studies on casuistry, war and peace, pediatric ethics, and other occasional topics Richard B. Miller has for some time been a leading source of creative impulses in the field of religious (...) ethics, so it is a welcome event to have this volume organizing past essays of his into a thematically cohesive presentation. His book sets out a vision of the character and concerns of religious ethics that helps counter critics, such as Stanley Hauerwas, who have expressed skepticism about the field.The governing conception of Friends and Other Strangers is that the study of religious ethics is properly shaped by attending to how "our lives ineluctably oscillate between experiences of intimacy and otherness" (5). Accordingly, Miller seeks to guide the field beyond either a one-sided focus on matters of friendship and special relations or a preoccupation with alterity and heterology. To grasp how the dialectic of intimacy and alterity shapes the normative character of personal and public life, he recommends religious ethicists should employ "the category of culture as an organizing rubric" (6).In the book's initial section Miller elaborates on his view of the enterprise of religious ethics and its place in the broader intellectual landscape. In a discussion drawing on Ludwig Wittgenstein, Stanley Cavell, and James Gustafson, Miller first offers his account of the characteristic concerns and history of the field. He then presents the case for a "cultural turn" in religious ethics, arguing not only that practitioners would benefit from incorporating anthropology and cultural studies into their work but that they should extend their ambit to normative questions throughout the academy. Responding to the problems of ethnocentrism and the moral authority of outsiders in criticizing cultural practices, Miller rounds out the section by proposing constructive norms for nonchauvinistic social criticism in multicultural contexts.Among the remaining essays are several that showcase Miller's appreciation of Augustine as a principal source of ethical insight. In a chapter scrutinizing the case for replacing disembodied patterns of moral reasoning with an "ethics of empathy," he proposes that Augustine's ethics of love can sharpen our grasp of both the possibilities and pitfalls of empathy as a moral value. Writing on friendship and evil, Miller invokes the Augustinian "theocentric imaginary" as a guide to how intimacy and alterity are balanced in friendship. And taking [End Page 194] up the ethics and social psychology of war, he presents Augustine's writings on the morality of killing as a source for just war standards that can be applied in cross-cultural normative criticism. That Augustine's seminal reflections on time and memory do not appear in a further chapter on "the moral and political burdens of memory" is a slight disappointment, no doubt attributable to the chapter's origins as a review essay.Other topics tellingly subjected to Miller's characteristically nuanced and sharp analysis include indignation and solidarity, responsibilities to children, and democracy and public reason. A bonus chapter collects six lengthy reviews of recent books—five on topics related to Islam—touted by Miller as exemplary in their embodiment of a cultural turn in religious ethics.Given its endorsement of a "cultural turn" in ethics, the book would have benefited from deeper reflection on discrete meanings of "culture," "cultures," and their various cognates. In addition, the individual chapters, originating in diverse settings, are not all equally well integrated into the book's governing themes. Overall, however, Miller's book amply succeeds in its Geertzian task of presenting both a model of and a model for the field of religious ethics. A fine distillation of the thought of a leading figure in the guild, it is essential reading for serious students of ethics.Bill BarbieriCatholic UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 35-37 [Access article in PDF] Seeking Emancipation through Engagement:One Nichiren Buddhist's Approach to Practice Bill Aiken SGI-USA I was born and raised Roman Catholic, which meant attending Catholic schools, first in the local parish schools and later at a private academy in suburban Philadelphia. As a child I was serious about my religion. I served as an altar boy and had serious thoughts about (...) becoming a priest.That was until the mid-1960s, when my hormones took over, my voice changed, and I converted to hedonism. I hadn't so much turned against my Catholic upbringing as I was temporarily distracted from it.It was when I went away to college that the religious questions began to resurface. Friends and classmates wanted to know what I believed in, and I really didn't know. The old form of Catholicism, with its stern, patriarchal vision of God, didn't seem to fit anymore. But the mystery remained as a palpable presence, and it seemed to require an answer. Was I an atheist? That seemed so negative. How about an agnostic? Possibly. They seemed to believe in something, even if they didn't know what it was. That seemed about right for the moment.My first encounter with Buddhism came during that freshman year at Penn State University in the fall of 1968. While attending a rather psychedelic party, a friend asked me if I knew anything about Buddhism. Replying that I didn't, I asked what Buddhism had to say for itself. My friend said that it spoke of the oneness and interrelatedness of everything. All I can say is that at that particular moment this made sense to me and started me on what would at first be a pretty casual exploration of Buddhism.But it would be in the bedridden summer of 1970, while recovering from a lifestyle-inflicted illness, that I started to reflect on my life in earnest and began to read as though Buddhism had something to say directly to me. More books by Alan Watts led to D. T. Suzuki, which in turn led to collections of sutras and finally to Phillip Kapleau and the Three Pillars of Zen. This would be my guide for the next year as I struggled to bring focus to my mind and my life.Being the poor and struggling student that I was, I could not afford the cost of a [End Page 35] retreat or sesshin training. So I struggled as well as I could with a combination of self-instruction and whatever I could learn from those who did attend these sessions.I should say at this point that while I may have had a highly developed religious sense, I never wanted to become a religious virtuoso or a renunciate. From the depths of my adolescent angst and confusion, I longed for an awakening, but I had conditions. And chief among them was that I would not be pried apart from my life as I knew it. The quietude of the monastery and hours of prayer or meditation held absolutely no appeal for me. If I were going to attain enlightenment it would have to be in Times Square (before Disney took it over). And so, through my daily stumbling efforts at zazen, I began struggling to bring about this awakening.So this is where I was spiritually when on a late summer day in 1971, a pleasant though somewhat scattered young woman approached me on the streets of downtown Philadelphia, invited me to a Buddhist meeting, and introduced me to the chanting of Nam-myoho-renge-kyo. The first meeting I attended was a rather large one on the campus of Columbia University in NewYork. Everyone seemed pleasant enough, but the meeting seemed more like a pep rally than a serious discussion about the profound teachings of the Buddha. When the main speaker finally took the stage, I found it nearly impossible to understand his broken English. So I'm afraid that I don't remember a single word he... (shrink)

Why did Greek tragedy and "the tragic" come to be seen as essential to conceptions of modernity? And how has this belief affected modern understandings of Greek drama? In Genealogy of the Tragic, Joshua Billings answers these and related questions by tracing the emergence of the modern theory of the tragic, which was first developed around 1800 by thinkers associated with German Idealism. The book argues that the idea of the tragic arose in response to a new consciousness of history (...) in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Hölderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy. (shrink)

Part I: Theoretical considerations from the beginnings to the present day -- Chapter 1: Delexicalisation, relexicalisation and classroom application -- Chapter 2: collocation, interpretation, and context of situation -- Chapter 3: Semantic prosodies, irony, insincerity and literary analysis -- Chapter 4: Data-assisted negotiating -- Chapter 5: The analysis and creation of humour -- Chapter 6: Events in the context of culture, language events, subtext -- PART II: New applications -- Chapter 7: Alexander Pushkin and authorial intention -- Chapter 8: Translating (...) Pushkin: a case in point -- Chapter 11 : Contextualprosodic theory in the stylistics classroom --Chapter 12: Student-centred stylistics: does subtext read text?. (shrink)

This short article starts with Alasdair MacIntyre’s famous critical remarks on human rights in After Virtue, and proceeds to ask whether in fact MacIntyre can be read against himself, taking a range of his own texts. This provides the basis for a sketch of a substantive account of human rights, more historicised and political than those for which MacIntyre has so little time. The article engages with some leading English Aristotelians-James Griffin and John Tasioulas in particular. MacIntyre has been a (...) Marxist: this article suggests that perhaps he still is and that a consistent Aristotelian is a Marxist, especially where human rights are concerned. (shrink)

Scholarly books of edited readings depend on the ability of the editor, the range of topics and authors, and the breadth versus depth with which the subject is approached. Too much breadth results in a platitudinous mishmash, while too much depth usually lacks context. In this work, the editor, Tim Miller of the University of Kansas, strikes a reasonable compromise. Not all chapters will be of equal interest to any reader, but all are germane to the topic.This book has (...) thirteen chapters, seven written by North Americans, three by U.K. residents, two by Europeans, and one by an Israeli. Eight of these authors are current or ex-members of “spiritual and visionary” communities, three are academics, and two are... (shrink)

Scholarly books of edited readings are usually, like the curate's egg, "excellent in parts," and that backhanded compliment applies here. This truly international book, edited by an American and a Canadian, has eighteen chapters, with eleven of the authors from the United States, three from Canada, two from Spain and the United Kingdom, and one from Australia, Argentina, France, and Italy—a mixture of academics, doctoral students, and public intellectuals. The chapters are divided into three sections: "Contextualising the Individual and (...) Utopia"; "Mind, Body, Soul, and the Utopian Individual"; and "Marginalised and Alternative Interpretations of the Individual and Utopia."The chapter titles range from the clear and... (shrink)

A Zen Maoist koan: Bill is developing a crazy synthesis that brings together Buddhism, Maoism, and French Marxism, especially Badiou. Running through all three are themes concerning emptiness, letting go, and contingency. On the other hand, when Bill's mind runs toward just making up stuff that seems funny to him, it is hard for him to stop. This “essay” is a meeting point between these two activities, and at some point in the underdetermined, contingent future there will have (...) to be expansion upon these themes and “examples” – “Joke Ideas,” as Bill calls them – and some serious analysis of what we have learned in this experiment. Best read with John Cage playing in the background – and we don’t mean 4′33″. That would be silly. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments TO THE UGHTHOUSE AND THE FEMINIST PATH TO POSTMODERNITY by Bill Martin Postmodernity is in part the existence of an unprecedented space for feminism. Already in this formulation, however, we encounter two major terms that require explication. I will argue in this essay that Virginia Woolf's To the Lighthouse provides the basis for productively understanding postmodernism and feminism in relation to each other.1 The question (...) of placing feminism temporally has of course been raised before; I will simply mention two occasions. In Sexual/Textual Politics, Toril Moi argues for a kind of natural affinity of feminism with literary modernism's implicit critique of notions of the unified self.2 Here the comparison of Woolf with Joyce is appropriate. Moi moves from this perceived affinity toward the notion of écriturefeminine. Practitioners of the latter have been much more interested in Joyce than Woolf. Joyce, especially in Finnegans Wake, thoroughly shatters the self, reaching the highest expression of modernism. Woolf does something different. In To tL· Lighthouse, she not only decenters the subject, she also reconstitutes the subject. If Woolf had only reinstated the subject, as a matter of simply returning to the previous paradigm, then obviously her writing would have to be considered anachronistic. Though the affinity posited by Moi is real and useful (if made problematic by what seem to be real affinities that also exist between modernism and misogyny ), the force of another affinity can also be felt: in her deconstruction /reconstitution, Woolf achieves a writing that is both postmodern and feminist. The both/and relation here is itself a cultural creation, 307 308PHrLOSOPHY and Literature however, which points to the elective affinity involved in joining a particular politics with a particular artistic practice. The question is whether a political argument that does not avoid questions of artistic integrity can be marshaled to the task of showing that the affinity of feminism and postmodernism is more viable in the contemporary context than the affinity posited by Moi.3 Elaine Showalter, in her formulation of "women's time," raises the possibility ofanother kind of temporalized feminism. In "Feminist Criticism in the Wilderness," Showalter pursues the idea that there might be a time and space which women occupy without their location being known or knowable to men, and perhaps without women fully knowing it themselves.4 In short, this "time" is conditional and predicated upon a possible future in which people will remember and be more fully aware of their spatial/temporal context. I would propose that this same conditional and uncertain sense of time applies to postmodernism. For the very terms "postmodernism" and "postmodernity" connote a transitional period in which it is not certain how elements which are for the time being in flux will ultimately setde down and congeal. The "aftereffect of the "post" in postmodernity will be truly understood only in the longer run, if even then. Showalter takes it that there is a sense in which "women's time," the "Age of Feminism," is occurring right now, but in a concealed way. Again, something like this may be said of postmodernism. In either case there is the sense of creating artifacts for a future which may or may not exist. There is also the sense of permanent postponement or deferral which is integral to the very notion of "possibility." Add to these references the by now familiar postmodern and feminist criticisms of grand narratives that crush difference, and I think we are in possession of a set of basic issues common to both feminism and postmodernism: the nature of the self and its possible recreation, the question of periodization and our "time," problems of difference and questions of doing something different (in the latter case feminism is much more explicit about doing something different that is also emancipatory, though some forms ofpostmodernism stress this as well). Given these common concerns I simply want to set the new affinity as follows: postmodernism is a social and cultural atmosphere in which feminism and other emancipatory trends might flourish. In this context, To tL· Lighthouse is a trailblazing feminist-postmodern artifact. The project here is not to generate or force a postmodern reading (any more... (shrink)

The views of Frederick Douglass, Thurgood Marshall, and Clarence Thomas on how the United States Constitution should be read are examined. Thomas claims that his understanding of the Constitution aligns with Douglass. I conclude that Thomas misunderstands the strategy of Douglass and fails to appreciate the honesty of Marshall.

In Two Minds is a practical casebook of problem solving in psychiatric ethics. Written in a lively and accessible style, it builds on a series of detailed case histories to illustrate the central place of ethical reasoning as a key competency for clinical work and research in psychiatry. Topics include risk, dangerousness and confidentiality; judgements of responsibility; involuntary treatment and mental health legislation; consent to genetic screening; dual role issues in child and adolescent psychiatry; needs assessment; cross-cultural and gender issues; (...) rational and irrational suicide; shared decision making in multi-agency teams, and the growing role of the user's voice in psychiatry. Key ethical concepts are carefully introduced and explained. The text is richly supported by detailed guides for further reading. There are separate chapters on teaching psychiatric ethics, including a sample seminar, and on writing a research ethics application. Each case history and discussion is followed by a critical commentary from a practitioner with relevant experience. Jim Birley adds a comparative international perspective on psychiatric ethics. Cartoons by Johnny Cowee provide punchy counterpoint! In Two Minds is the sister volume to the third edition of Sidney, Paul Chodoff and Steven Green's highly successful Psychiatric Ethics. In providing a bridge between theory and practice, it will be essential reading for everyone concerned with improving standards in mental health care. (shrink)

In this collection of essays, Strawson investigates wide-ranging topics pertaining to the nature of the self: What do we mean by the term ‘self’? In what sense do selves exist? To what extent is continuity over time essential to selfhood? Must one be able to make a story of one’s life in order to be a coherent self? Must one be self-conscious in order to be conscious at all? and more. The fourteen essays here are not necessarily meant to be (...) read in order. They do not offer a sustained argument, but rather a number of themes that appear in different places, like threads in a tapestry. (shrink)

Spatial Representation presents original, specially written essays by leading psychologists and philosophers on a fascinating set of topics at the intersection of these two disciplines. They address such questions as these: Do the extraordinary navigational abilities of birds mean that these birds have the same kind of grip on the idea of a spatial world as we do? Is there a difference between the way sighted and blind subjects represent the world 'out there'? Does the study of brain-injured subjects, such (...) as 'blind seers', tell us anything about the working of normal spatial consciousness? -/- The essays are arranged into five sections, each of which reflects a central area of research into spatial cognition, and opens with a short introduction by the editors, designed to facilitate cross-disciplinary reading. The volume as a whole offers a rich and compelling expression of the view that to advance our understanding of the way we represent the external world it is necessary to draw on both philosophical and psychological approaches. (shrink)

This paper presents our work on textual inference and situates it within the context of the larger goals of machine reading. The textual inference task is to determine if the meaning of one text can be inferred from the meaning of another and from background knowledge. Our system generates semantic graphs as a representation of the meaning of a text. This paper presents new results for aligning pairs of semantic graphs, and proposes the application of natural logic to derive inference (...) decisions from those aligned pairs. We consider this work as first steps toward a system able to demonstrate broad-coverage text understanding and learning abilities. (shrink)

fusion theory challenges efforts to see theory as inhibiting by presenting an approach that is innovative, eclectic, and subtle in order to draw out competing and constellating ideas and opinions. This collected volume of essays examines fusion theory and demonstrates how the theory can be applied to the reading of various works of Indian English novelists.

Animals and War: Confronting the Military-Animal Industrial Complex is the first book to examine how nonhuman animals are used in war and the military. Animals and War contributes significantly to the fields of social justice, animal rights, and anti-war/peace activist communities. This book also will be read by peace, conflict, social justice, and critical animal studies scholars, students, and practitioners.

American physicians are increasingly concerned that they are losing professional control. Other analysts of medical power argue that physicians have too much power. This essay argues that current analyses are grounded in a structuralist reading of power. Deploying Michel Foucault's "care of the self" and rhetorician Raymie McKerrow's "critical rhetoric," this essay claims that medical power is better understood as a way that medical actors take on power through rhetoric rather than a force that has power over medical actors. Through (...) a close reading of an essay by Senator Bill Frist, this paper argues that physicians experience a process of "subjection" wherein they are both agents of and objects of medical power as it is combined with state and corporate power in the American "war on terror." This alternative mode of analyzing medical power has implications for our collective understanding of its operations and the means by which we propose alternative enactments of medical power. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bill Brandt: A LifeStuart Richmond, Professor of Arts EducationBill Brandt: A Life, by Paul Delany. Stanford California: Stanford University Press, 2004, 335 pp., $47.50 hardcover.From June to September 2003, Britain's famous art gallery, the Tate Modern, housed dramatically in a gigantic, renovated power station on the south bank of the Thames, held its first major photography exhibition, entitled Cruel and Tender after comments made by a critic (...) to describe the work of Walker Evans. The twenty-three artists in the show, including August Sander, Diane Arbus, Rineke Dijkkstra, William Eggleston, Walker Evans, Philip-Lorca diCorcia, and Thomas Ruff, were mainly Americans and Germans. Bill Brandt, who had a reputation as a documentary photographer, was not included. Writing in the catalogue, Tate director Nicholas Serota notes, "Cruel and Tender examines a form of documentary photography that keeps within the limits of the medium, stressing pure description.... Surrealist and Conceptual photography would fit more naturally into the programs and displays at the Tate, but the elusive and documentary qualities in straight photography challenge the traditions of the institution, by concentrating on a form of photography which explores the intrinsic aspects of the medium." In other words, "straight photography" serves as a kind of unemotional, uncreative narrative of ordinary life, avoiding drama, romanticism, sentimentality, deep coding, and, as far as possible, the expressive contributions of the artist. The relationship of photograph to reality, though problematic, is still interesting, according to the catalogue notes, and this contemporary work aims to inform us, literally, of the true essence, banal or otherwise, of our world. This approach acts implicitly to undermine the fake optimism of consumer capitalism.It will be useful to keep in mind this exhibition in considering the work of Brandt, for in the early 1980s Brandt was being lauded as Britain's greatest photographer, and he was nothing if not expressive. It was his métier to find the unusual in the everyday and to create meaning through careful staging and composition, drawing very much on his own personal outlook, aesthetic philosophy, and psychology. He believed all was permitted in photography, whether in the novel choice of lens, use of friends as models, or darkroom processing to achieve his vision. Rather than being a documentary photographer, at least in the purist sense of the Tate collection, he was more the poet ethnographer with a strong sense of the surreal. His was a vision that would be imposed on the world. After reading Paul Delany's excellent biography, it becomes clear why Brandt, all too soon, had become unfashionable in the eyes of the Tate organizers and contemporary photography at large. He is, nevertheless, an artist who can help us question the nature of reality while producing work that is often very complex and beautiful, and someone whose methods and ideas can serve as [End Page 118] a model of individual creative practice. The global interest in photography, the many significant exhibitions and books produced in the past decade, and the prices paid for photographs have by now lain to rest the old debate about whether photography is a genuine art form. As any serious photographer can attest, producing a photograph that has form, presence, and originality is dauntingly difficult, even though photography seems so easy. Everyone, today, has a camera. Yet, constantly fed with glitzy images from commerce and entertainment that direct our minds along certain well-worn grooves—a challenge for aesthetic education—budding artists require a certain strength of character and imagination to resist the literal and obvious and move toward a more authentic way of seeing. Delany's book shows how someone can defy fashion, as Brandt did for half a century, producing "pictorial" images layered with meaning and mystery. As an aside, despite the intent to show images that simply describe the world, some of the Tate pictures still manage, to my eye at least, to have their own ephemeral expressiveness, and at times great beauty, which raises the question, At what point does a document become a work of art? The Tate approach, with its strict theories, seems to be more interested in legislating than in exploring photographic practice.Biographies can... (shrink)

In the wake of a series of corporate scandals, there has been a growing call for authentic leadership in order to ensure ethical conduct in contemporary organizations. Authentic leadership, however, depends upon the ability to draw a distinction between the authentic and inauthentic leader. This paper uses Deleuze’s discussion of Platonism as a point of departure for critically scrutinizing the problem of authenticating the leader—drawing a distinction between authentic and inauthentic leaders. This will be done through a reading of (...) class='Hi'>Bill George’s book Authentic Leadership. Informed by Deleuze’s inverted Platonism, the paper challenges the practice by which authentic leaders are distinguished from inauthentic leaders. In conclusion, the paper suggests that an adequate concept of authentic leadership should consider how ethics can occur when the authentic leader is able to critically reflect his or her own value-commitments. (shrink)

Although historians of addiction have long debated whether an oral culture of “sharing” or “Big Book”-based reading practices are foundational to 12-step recovery culture, the role other types of media have played in the development of contemporary recovery discourse has remained largely unexplored. This essay compares the production, reception and formal elements of the films The Lost Weekend and Smash Up in relation to the popularization of the disease concept of alcoholism. Through an analysis of archival sources, addiction narratives, and (...) nascent alcoholism research, this paper argues that, by emphasizing the importance of popular representations of alcoholics above scientific inquiry, early recovering “experts” successfully promulgated the disease concept of alcoholism, but the testimonials of later recovering alcoholics became relegated to the sphere of popular culture. (shrink)

This paper considers the number of speeches which treat central topics in the House of Lords second reading of the ‘Assisted Dying Bill’ (October 22, 2021). It summarizes some of the principal arguments for and against the Bill according to the main categories of discussion. These were compassion; palliative care; autonomy, choice and control; legal and social effects. In summarizing the arguments thematically, it is possible to see the current state of the debate and how concerns are shared (...) on either side, even if approaches to and proposed solutions for those problems are different. The paper concludes that the essential source of disagreement lies outside of the arguments raised, and therefore that any change in the law is not likely to arise from political consensus. (shrink)

Early modern empiricists thought that the nature of perceptual experience is given by citing the object presented to the mind in that experience. Hallucination and illusion suggest that this requires untenable mind-dependent objects. Current orthodoxy replaces the appeal to direct objects with the claim that perceptual experience is characterized instead by its representational content. This paper argues that the move to content is problematic, and reclaims the early modern empiricist insight as perfectly consistent, even in cases of illusion, with the (...) realist contention that these direct objects of perception are the persisting mind-independent physical objects we all know and love. (shrink)

Bill Brewer presents an original view of the role of conscious experience in the acquisition of empirical knowledge. He argues that perceptual experiences must provide reasons for empirical beliefs if there are to be any determinate beliefs at all about particular objects in the world. This fresh approach to epistemology turns away from the search for necessary and sufficient conditions for knowledge and works instead from a theory of understanding in a particular area.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Brisbane: Utopian Dreams and Dystopian Nightmares by William (Bill) MetcalfLyman Tower SargentWilliam (Bill) Metcalf. Brisbane: Utopian Dreams and Dystopian Nightmares. Brisbane History Group Studies no. 11. Tingalpa: Boolarong Press, 2022. 297 pp. Australian $30.00 ISBN: 9781922643445.Bill Metcalf, the foremost scholar on Australian intentional communities, has discovered and written about a number of Australian utopias. In Brisbane: Utopian Dreams and Dystopian Nightmares he focuses on a (...) subset of Australian utopias, those written by people who lived in Brisbane plus one Brisbane architect who made designs for a future utopian Brisbane. One of the books, A Workingman’s Paradise: An Australian Labour Novel (1892), is well known, particularly in Australia. A second novel, The Adventures of Halek: An Autobiographical Fragment (1882) by John H. Nicholson, will be familiar to some readers. The others will be unfamiliar to most readers both in Australia and in the rest of the world. I learned of many of them through Metcalf ’s previous work and correspondence with him. Given this situation and the fact that a few of the books are only available in Australia, I have said something about all of them.The book begins with “A Brief Overview of Utopianism” (1–6), an introduction suitable for those unfamiliar with the subject, followed by “Overview of Brisbane in the 1880s and 1890s” (7–12), which gives all readers an initial context. The entire book is strong on context, particularly local context. The following nine chapters are on authors or coauthors of utopian texts and one artist. All the chapters begin with substantial biographical information about the authors, as well as their activities and the Brisbane context within which they lived, followed by a presentation and discussion of their utopias. [End Page 158]The first authors mentioned are William and Annie Lane, which immediately raised a question in my mind. The two works discussed, the racist “White or Yellow? A Story of the Race-war of A.D. 1908” by Sketcher (serialized in The Boomerang in 1888), and the socialist A Workingman’s Paradise by John Maurice Miller, have always been identified as written by William Lane—with no mention of Annie. Metcalf suggests, but with minimal discussion, that while “White or Yellow” was by William, Annie was the unacknowledged coauthor, perhaps even author, of A Workingman’s Paradise. So, I asked Metcalf about the attribution and in a substantial email of October 5, 2022, he laid out the argument, which is based in part on the work of a former student, John Kellett, published as “One-Woman-One Vote: Annie Lane, ‘Lucinda Sharpe,’ and the Female Franchise in Late-Nineteenth Century Queensland” (Hecate 30, no. 2 [2004]: 37–52).Lucinda Sharpe was the nom de plume of a weekly contributor to the newspapers published by William Lane. It has been believed that he wrote all the articles. Kellett, however, makes a strong case that Annie, who was a working journalist in Canada when she met William (also a working journalist), was Lucinda Sharpe. In particular, Kellett notes the extreme differences between William’s usual style and that of Lucinda Sharpe and compares it to material known to be written by Annie. Kellett concludes, based on the similarities between Lucinda and Annie and other evidence, that Lucinda was Annie. But Kellett is only concerned with the Lucinda Sharpe works and the way they presented the case for the franchise; he does not mention either of the works that Metcalf discusses.In his email to me, Metcalf expands on Kellett, saying thatWhile researching for this book I re-read The Workingman’s Paradise and again I was struck by how the sentence structure and language differs from William Lane’s usual work. Then I compared it to “Lucinda Sharpe,” and it was similar. I discussed this observation with John Kellett, now retired and living in Armadale, and he agreed. That led me to conclude that Annie Lane probably wrote The Working Man’s Paradise. Perhaps/probably with William’s input. The real giveaway is when William tries to write in a female voice, as in White or Yellow with the Cissie character, it is very stilted, “twee” and demeaning. When... (shrink)

What is the role of conscious experience in the epistemology of perceptual knowledge: how should we characterise what is going on in seeing that o is F in order to illuminate the contribution of seeing o to their status as cases of knowing that o is F? My proposal is that seeing o involves conscious acquaintance with o itself, the concrete worldly source of the truth that o is F, in a way that may make it evident to the subject (...) that o is an instance of ‘x is F’ as she understands this, and hence evident that o is F. Seeing that o is F is thus a way of its being evident that o is F and is therefore a way of knowing that o is F. (shrink)

Introduction -- What is journalism for? -- Truth: the first and most confusing principle -- Who journalists work for -- Journalism of verification -- Independence from faction -- Monitor power and offer voice to the voiceless -- Journalism as a public forum -- Engagement and relevance -- Make the news comprehensive and proportional -- Journalists have a responsibility to conscience -- The rights and responsibilities of citizens.

I take it for granted that sense experiential states provide reasons for empirical beliefs; indeed this claim forms the first premise of my central argument for (CC). 1 The subsequent stages of the argument are intended to establish that a person has such a reason for believing something about the way things are in the world around him only if he is in some mental state or other with a conceptual content: a conceptual state. Thus, given that sense experiential states (...) do provide reasons for empirical beliefs, they must have conceptual content. (shrink)

The question how to account for illusion has had a prominent role in shaping theories of perception throughout the history of philosophy. Prevailing philosophical wisdom today has it that phenomena of illusion force us to choose between the following two options. First, reject altogether the early modern empiricist idea that the core subjective character of perceptual experience is to be given simply by citing the object presented in that experience. Instead we must characterize perceptual experience entirely in terms of its (...) representational content. Second, retain the early modern idea that the core subjective character of experience is simply constituted by the identity of its direct objects, but admit that these must be mind-dependent entities, distinct from the mind-independent physical objects we all know and love. I argue here that the early modern empiricists had an indispensable insight. The idea that the core subjective character of perceptual experience is to be given simply by citing the object presented in that experience is more fundamental than any appeal to perceptual content, and can account for illusion, and indeed hallucination, without resorting to the problematic postulation of any such mind-dependent objects. (shrink)

It is close to current orthodoxy that perceptual experience is to be characterized, at least in part, by its representational content, roughly, by the way it represents things as being in the world around the perceiver. Call this basic idea the content view.

The phenomenon of multimodality is central to our everyday interaction. 'Hybrid' modes of communication that combine traditional uses of language with imagery, tagging, hashtags and voice-recognition tools have become the norm. Bringing together concepts of meaning and communication across a range of subject areas, including education, media studies, cultural studies, design and architecture, the authors uncover a multimodal grammar that moves away from rigid and language-centered understandings of meaning. They present the first framework for describing and analysing different forms of (...) meaning across text, image, space, body, sound and speech. Succinct summaries of the main thinkers in the fields of language, communications and semiotics are provided alongside rich examples to illustrate the key arguments. A history of media including the genesis of digital media, Unicode, Emoji, XML and HTML, MP3 and more is covered. This book will stimulate new thinking about the nature of meaning, and life itself, and will serve practitioners and theorists alike. (shrink)