It is imperative that creative techniques be designed for the conduct of active conflict. The failure to explore alternatives to violent force is fostered by an inbred literature which is preoccupied with descriptive analyses of small group conflict or with policy and the implications of nuclear warfare. An entirely new concept is required based upon the union of technique with theory. Psychoanalytic experience with intrapsychic conflict should be brought to bear upon problems of large-scale conflict in a manner not yet (...) attempted. The central questions and their answers may require the fielding of an experimental corps to refine constructive techniques for engaging in conflict. (shrink)

Several recent lines of inquiry have pointed to the amygdala as a potential lesion site in autism. Because one function of the amygdala may be to produce autonomic arousal at the sight of a significant face, we compared the responses of autistic children to their mothers’ face and to a plain paper cup. Unlike normals, the autistic children as a whole did not show a larger response to the person than to the cup. We also monitored sympathetic activity in autistic (...) children as they engaged in a wide range of everyday behaviours. The children tended to use self-stimulation activities in order to calm hyper-responsive activity of the sympathetic (`fight or flight’) branch of the autonomic nervous system. A small percentage of our autistic subjects had hyporesponsive sympathetic activity, with essentially no electrodermal responses except to self-injurious behaviour. We sketch a hypothesis about autism according to which autistic children use overt behaviour in order to control a malfunctioning autonomic nervous system and suggest that they have learned to avoid using certain processing areas in the temporal lobes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PORTIA'S SUITORS by Richard Kuhns and Barbara Tovey I am always inclined to believe that Shakespeare has more allusions to particular facts and persons than his readers commonly suppose. —Samuel Johnson, "Merchant of Venice," Notes on Shakespeare's Plays. 66f\ver-name them," Portia says to Nerissa, "and as thou namest V^/them, I will describe them, and according to my description level at my affection." This passage in TL· Merchant (...) of Venice (Act I, Scene ii), where Portia describes her suitors, presents certain problems.1 To our knowledge interpreters have not addressed them. In the first place, the lengthy description ofthe discarded suitors serves no apparent function. The suitors play no role whatsoever in the subsequent development of the drama, and the protracted account of their failings retards rather than advances the action of the play. To be sure, Shakespeare wanted die audience to be aware that Portia had many suitors of high rank and from many different countries, but it was scarcely necessary for him to go to such lengths to make the point. In the second place, the denigration of the previous suitors in this scene does not accord with the account ofthem given by Bassanio when talking to Antonio in the first act: Nor is the wide world ignorant of her worth, For the four winds blow in from every coast Renowned suitors, and her sunny locks 325 326Philosophy and Literature Hang on her temples like a golden fleece, Which makes her seat of Belmont Colchos' strond, And many Jasons come in quest of her. (Li. 167-72) The suitors as described by Portia hardly deserve to be called "renowned," or to be referred to as "Jasons." The belittling of his competitors in this scene also has the undesirable effect of trivializing Bassanio 's achievement in Act III. Thirdly, there is something decidedly odd about the sort of failings attributed to the suitors by Portia. Had he so wished, Shakespeare could have utilized this passage to present a sort of catalogue of human frailties. One suitor might have been a representative of pride, another of avarice, another of envy, etc. But Shakespeare does nothing of the sort. With the exception of the German, who is a drunkard, the defects of the suitors can hardly be considered major vices. The Neapolitan Prince talks too much about his horse, the County Palatine frowns excessively, the French lord is an imitator of the others, the English baron is "oddly suited," and so on. Yet Shakespeare dwells at considerable length upon these more or less trivial failings. Now it may be suggested that Shakespeare, who is certainly deeply interested in national differences of character and behavior, may have inserted this discussion of the suitors into the play in order to provide himself with an opportunity for analysis of idiosyncratic national traits. The answer to this objection is simple. The characteristics ascribed to the suitors do not represent genuine or interesting national differences any more than they stand for major human vices. Is it true, as under this hypothesis Shakespeare would seem to be suggesting, that Neapolitans are fonder of horses than most other folk? Or that Frenchmen are particularly prone to imitating others? Or that Germans are uniquely predisposed to alcoholism? If not, we must admit that the discussion of the discarded suitors represents a puzzling and as yet unexplained digression. Commenting upon this scene, Samuel Johnson made a suggestion that we think merits serious consideration. Might it be the case that the suitors represent actual persons, whose descriptions give clues to their real identities? It is our suggestion that the six suitors make up a company of the most gifted, influential, and to Shakespeare—we suspect—the most interesting writers of the tradition in which he worked. These are the writers from whom he derived inspiration and plots. The question may Richard Kuhns and Barbara Tovey327 well be raised, as to why, if this is so, the suitors are depicted in such derogatory terms. We suggest that one very potent way in which to express the deepest gratitude and admiration is by means of a loving insult. This technique ofexpressing affection and indebtedness to one's literary mentors... (shrink)

This paper considers the adoption ofPortia, the heroine of The Merchant ofVenice, by feminist legal scholars as ametaphor for the woman lawyer. It suggests thatPortia has both captured and is captured by thefeminist legal scholar's imagination, becomingat once an idol, myth and icon. She is to somethe personification of the woman lawyer'sperceived difference, a mouthpiece for mercyand `the different voice' and to others, a shamor myth, her idolised reputation sullied, her`difference' rejected. Yet ultimately thisconstant and simultaneous idolisation andvilification of (...) class='Hi'>Portia threatens not only tosilence and constrain conversations about thewoman lawyer, but also to eclipse her promiseand potential. Thus in the final section of thepaper, Portia is established as an icon. Assuch her story, understood as a myth or fairytale, is seen to reveal previously unimaginedpossibilities for change, as an iconicunderstanding of Portia becomes a windowthrough which feminist legal scholars can lookonto alternative understandings of lawyeringand adjudication. (shrink)

Macphail’s ‘null hypothesis’, that there are no differences in intelligence, qualitative or quantitative, between non-human vertebrates has been controversial. This controversy can be useful if it encourages interest in acquiring a detailed understanding of how non-human animals express flexible problem-solving capacity (‘intelligence’), but limiting the discussion to vertebrates is too arbitrary. As an example, we focus here on Portia, a spider with an especially intricate predatory strategy and a preference for other spiders as prey. We review research on pre-planned (...) detours, expectancy violation and a capacity to solve confinement problems where, in each of these three contexts, there is experimental evidence of innate cognitive capacities and reliance on internal representation. These cognitive capacities are related to, but not identical to, intelligence. When discussing intelligence, as when discussing cognition, it is more useful to envisage a continuum instead of something that is simply present or not; in other words, a continuum pertaining to flexible problem-solving capacity for ‘intelligence’ and a continuum pertaining to reliance on internal representation for ‘cognition’. When envisaging a continuum pertaining to intelligence, Daniel Dennett’s notion of four Creatures (Darwinian, Skinnerian, Popperian, Gregorian) is of interest, with the distinction between Skinnerian and Popperian Creatures being especially relevant when considering Portia. When we consider these distinctions, a case can be made for Portia being a Popperian Creature. Like Skinnerian Creatures, Popperian Creatures express flexible problem solving capacity, but the manner in which this capacity is expressed by Popperian Creatures is more distinctively cognitive. (shrink)

The basic argument of the essay is that in The Merchant of Venice Shakespeare represents Aristotelian-Thomistic notions of love and friendship. In the attraction of Bassanio for Portia we have the three-fold analysis of love as desire for the useful, the pleasurable and the virtuous. In the male friendship between Antonio and Bassanio we see the liberal man’s virtuous desire to give and share his wealth with his friends. Both relationships are concerned with giving and taking, a reflection of (...) the Aristotelian-Thomistic distinction between love as desire and love as friendship. A final note is the play’s conclusion in the Aristotelian goods of happiness, gratuitous good fortune with the safe arrival of Antonio’s ships, union in friendship and marriage with Portia and Bassanio, Nerissa and Gaziano, and the wonder and delight that is to follow with Portia’s answer to all remaining questions. (shrink)

Qu'y a-t-il de commun entre le personnage du Marchand de Venise de Shakespeare, Portia, le philosophe de la démocratie moderne, Spinoza, et le penseur de l'inconscient, Freud? Ils inventent tous les trois une manière " marrane " d'être juif, en jouant la comédie de l'universalité pour laquelle ils cryptent ce qu'ils cherchent. Persécutés par l'inquisition, obligés de mimer la vie chrétienne, les Marranes portent en eux et au-delà un double jeu, une comédie judéo-chrétienne. Il ne s'agit pas pour eux (...) d'une nouvelle religion, mais d'un secret et de nouvelles Lumières qui constituent peut-être un signe adressé aux temps à venir. La scène judéo-chrétienne, habitée par les Marranes, est comme l'inconscient de la démocratie européenne, elle a été enterrée par l'histoire et on a tenté d'effacer les traces. Les Marranes déjouent le trait d'union judéo-chrétien, en rejouant les équivoques des épîtres de Saint Paul. Ils nous invitent à repenser et à subvertir le théâtre qui commande, depuis ces épîtres, la pensée politique (notamment celle du sacrifice et de la guerre) et à libérer une tout autre idée de la démocratie : une vie libérée de la politique religieuse et de la religion politique (qui se développent, aujourd'hui, sur l'économie abyssale de la dette, de la pauvreté et de la misère). Les Marranes nous obligent aussi à interroger la philosophie contemporaine qui oscille entre l'anamnèse et l'amnésie du théâtre judéo-chrétien de la pensée politique. (shrink)

The author analyses “The Merchant of Venice” by William Shakespeare, to highlight the transformation of the Christian body and the Jewish soul during the early stages of capitalism. He reveals that the Venice described by Shakespeare is a world without measure, in which money is the only value. People are objects of financial speculation and all of humanity is treated as a commodity, an exchange value. When Bassanio praises the advantages of Portia, he first mentions her ducats, and only (...) after that does he allude to her beauty and virtues of mind. The capitalism that is being formed in the eyes of the viewers mocks significant cultural, ethnic and religious differences. It buries them in heaps of money and then blurs them, forcing a new concept of man, whose existence differs little from plants and animals growing freely. In such a world, a game is the only strategy that allows for survival. In Venice, everyone pretends, wears a mask and lives in hypocrisy. This behaviour is typical of the “carnival” atmosphere. Masks separate people from themselves, covering up their tracks and blurring identities. By wearing them, they can hide behind “someone else”. (shrink)

Shakespeare’s Merchant of Venice provides a dramatic setting for thinking about the relationship of mercy to justice, a topic of great concern to contemporary ethical and political thought. Traditionally classified as among Shakespeare’s comedies, the play can also be analyzed as a tragedy in which Shylock is the protagonist. The tragedy is driven by the relatively weak conception of mercy in relationship to justice that informs Portia’s famous soliloquy “the quality of mercy.... ” The mercy she praises is closely (...) related to the stoic conception of mercy that Seneca urges upon Nero, a mercy that is bound within the confines of justice. Examining Aquinas’ discussion of misericordia in relation to justice and forgiveness provides a more robust conception of mercy that is closely associated with friendship, particularly the friendship Aquinas argues is owed by all human beings to all human beings. This concept of mercy can rightly be said to be a mercy beyond justice, a mercy that justice strives to attain. (shrink)

Shakespeare’s Merchant of Venice provides a dramatic setting for thinking about the relationship of mercy to justice, a topic of great concern to contemporary ethical and political thought. Traditionally classified as among Shakespeare’s comedies, the play can also be analyzed as a tragedy in which Shylock is the protagonist. The tragedy is driven by the relatively weak conception of mercy in relationship to justice that informs Portia’s famous soliloquy “the quality of mercy.... ” The mercy she praises is closely (...) related to the stoic conception of mercy that Seneca urges upon Nero, a mercy that is bound within the confines of justice. Examining Aquinas’ discussion of misericordia in relation to justice and forgiveness provides a more robust conception of mercy that is closely associated with friendship, particularly the friendship Aquinas argues is owed by all human beings to all human beings. This concept of mercy can rightly be said to be a mercy beyond justice, a mercy that justice strives to attain. (shrink)