In this special issue, we are fortunate to be able to publish a series of papers on Harald Wohlrapp's The Concept of Argument, preceded by Wohlrapp’s own précis of his book.

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

This new edition of Hume's Enquiry concerning the Principles of Morals, published in the Oxford Philosophical Texts series, has been designed especially for the student reader. The text is preceded by a substantial introduction explaining the historical and intellectual background to the work and its relationship to the rest of Hume's philosophy. The volume also includes detailed explanatory notes on the text, a glossary of terms, and a section of supplementary readings.

How Things Are: An Introduction to Buddhist Metaphysics by Mark Siderits is truly a masterly contribution, written by a scholar who has spent his life engaging with the philosophical arguments of S...

Animal Studies Journal 2021 10: [Review] Felice Cimatti and Carlo Salzani, editors. Animality in Contemporary Italian Philosophy. Palgrave Macmillan Animal Ethics Series. Cham: Palgrave Macmillan, 2020. 341 pp.

In lieu of an abstract, here is a brief excerpt of the content:Editors' IntroductionThomas Cattoi and Kristin Johnston LargenIn 2018, Buddhist-Christian Studies published the proceedings of an international conference on Ippolito Desideri (1684–1733) that had been held in Pistoia in October 2017. Marking the two-hundredth anniversary of the arrival of the Tuscan Jesuit in Lhasa, the event explored from a variety of disciplinary perspectives the extraordinary contribution of a figure who effectively inaugurated the theological conversation between Tibetan Buddhism and Christianity. (...) Desideri, however, was neither the only nor the first Catholic missionary to reach Tibet—a number of other Jesuits and a few members of other religious orders had visited the Land of Snows or even settled there before his arrival. In this issue of the journal, we are therefore glad to open this issue with the translation of another report by a missionary—this time, the author is the Capuchin Domenico da Fano, who authored his memories of his time in Tibet in 1713. The translation is by Michael J. Sweet and Leonard Zwilling—names many of our readers will recognize as the translator and the editor of Desideri's Relazione. As Luciano Petech's collection Il Nuovo Ramusio contains quite a few more reports by Italian Catholic missionaries to Asia, this may not even be the last such translation that the journal is going to publish.Continuing our long-established tradition, the first part of the issue contains a number of papers that were initially presented at the annual meeting of the Society for Buddhist-Christian Studies. For the second year in a row, because of the global health emergency, the meeting was held remotely, but the energy and the enthusiasm of both speakers and audience ensured that the sessions were both compelling and inspiring. A first set of essays touches on the relationship between Buddhist-Christian dialogue and the environmental crisis, exploring perspectives as diverse as process thought, hybridity, the interface between environmental activism and spiritual practice, and the need to listen to the environmental wisdom of the marginalized voices from the Global South. The second section explores different facets of the exchange between Japanese Buddhism and Christianity. Two contributions map the contribution of the Jesuit scholar and practitioner William Johnston, SJ (1925–2010), who played an important role in laying the foundations of dialogue between Japanese Zen and Catholic Christianity; another piece—also presented at the SBCS meeting in November 2021—addresses the fraught question of different responses to US nationalism during the Japanese-American conflict in World War II, while a final essay introduces us to the way women practitioners respond to [End Page vii] challenging aspects of Shin Buddhist teachings. The third and the last section of the first part includes four essays that sketch the contours of a number of interreligious encounters; one explores monastic obedience in Franciscan spirituality and Theravada Buddhism, one touches on the spirituality of victim souls and the Tibetan practice of gcod, and a final one brings into conversation Dignāga, Dharmakīrti, and Lonergan.In 2016, members of the Research Center for World Buddhist Cultures at Ryukoku University started an interreligious project under the title "Conversations in Comparative Theology: Shin Buddhism, Christianity, Islam." The goal was to organize a series of events where a few scholars from these three traditions would present papers on shared themes and discuss points of shared concerns. This initiative led to a series of four meetings that concluded in 2019. Thanks to Dennis Hirota and Perry Schmidt-Leukel, Buddhist-Christian Studies is glad to publish a series of eight essays that emerged from these conversations. Readers will notice that some of these essays are of an interreligious nature, but do not actually discuss the intersection of Buddhism and Christianity. In line with the policy adopted with the publication of the proceedings from the 2019 Lotus Sutra seminar organized in Tokyo by Risshō-Kōsei-Kai, the editors decided to publish all the contributions from these events, so as to make sure that the proceedings of these important interreligious exchanges would all be available in the same place.On January 22, 2022, the Vietnamese Buddhist leader Thich Nhat Hahn reached the end of his life. Thich Nhat Hahn had devoted his... (shrink)

We think the present moment is a timely one for debating the relation between evidentiary protocols and academic disciplines. Since academic practices for constituting and deploying evidence tend to be discipline-specific, the much-discussed crisis of the disciplines in recent years has given rise to a series of controversies about the status of evidence in current modes of investigation and argument: deconstruction, gender studies, new historicism, cultural studies, new approaches to the history and philosophy of science, the critical legal studies (...) movement, and so on. Unfortunately, these controversies too often devolve into oversimplified debates about who has the evidence and who does not, who did their homework and who did not, or about the dangers of an ill-defined academic relativism. Attention needs to be better and otherwise directed: at the configuration of the fact-evidence distinction in different disciplines and historical moments, for example; or at the relative function of such notions as “self-evidence,” “experience,” “test,” “testimony,” and “textuality” in various academic discourses; or at the ways in which the invoked “rules of evidence” are themselves the products of historical developments, and themselves undergo redifferentiation and reformulation. James Chandler, professor of English at the University of Chicago, is the author of Wordsworth’s Second Nature . He is currently completing England in 1819, studies in and of romantic case history. Arnold I. Davidson, executive editor of Critical Inquiry, teaches philosophy and the history of science at the University of Chicago. He is currently working on the history of horror as it relates to the epistemology of norms and deviations and is editing a collection of essays on Heidegger, philosophy, and National Socialism. Harry Harootunian, a coeditor of Critical Inquiry and professor of history and East Asian languages and civilizations at the University of Chicago, is the author of Things Seen and Unseen: Discourse and Ideology in Tokigawa and editor, with Masao Miyoshi, of Postmodernism and Japan. (shrink)

Richard Henry Popkin - Founding Editor's Note - Journal of the History of Philosophy 40:4 Journal of the History of Philosophy 40.4 417-419 Founding Editor's Note HAPPY BIRTHDAY TO THE JOURNAL OF THE HISTORY OF PHILOSOPHY. As I sat down to write this I realized that a bit more than half of my life has involved affairs of the Journal. So I'd like to reflect a little on what its development and success might represent. Back in the 1950s (...) there were very few programs at the American Philosophical Association relating to the history of philosophy and only occasionally would the then-existing journals accept papers on the subject. In most philosophy departments people interested in the history of philosophy were marginalized. They had to prove their bona fides by doing philosophy, not writing about the dead white males who wrote philosophy in the past. People who cared about the exact wording of classical philosophical texts were regarded as museum keepers, not philosophers. It was in the '50s that my own career as a historian of philosophy really took off with a series of.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Social and Moral Aspects of the WarBertrand Russell and Introduced by Andrew G. BoneAmong nine loose-leaf folders of typed transcriptions of Russell's History of Western Philosophy lectures at the Barnes Foundation1 are two copies of a fourteen-page stenographic record of a political talk he gave there on 2 March 1941.2 The bulk of this significant new accrual to the Russell Archives, bearing as it does on Russell's most successful (...) philosophical work, could stimulate much further research and textual study. But his isolated Barnes lecture, about the politics of American neutrality, Nazi Germany's brutal and expansionist dictatorship, and the causes and possible consequences of the war against it, is also of considerable interest.The transcription reads more like detailed notes than a verbatim account, and there is no evidence that Russell approved this text.3 The stenographer initially recorded Russell in the third person, dispensed with this device before the second [End Page 52] paragraph, but then occasionally returned to it.4 There is also more enumeration of Russell's points than he would have supplied in a prepared script. Even the title may not be his: there is nothing in the text on any social changes wrought by the war. But this title has been retained in the absence of a more plausible alternative in a short report of the speech (quoting sixteen sentences) in the next day's Philadelphia Evening Bulletin.5 Russell's hour-long address on the "Social and Moral Aspects of the War" appears to have been the only occasion when he "laid philosophy aside"6 at the Barnes Foundation. It was delivered on a Sunday to an audience of 160 students (and possibly some invitees, although none are mentioned in the newspaper article), sandwiched between two of his weekly philosophical lectures (on Socrates and Sparta7) in the series scheduled for each Thursday.In opening his case for the United States joining the Allied war effort, Russell challenged the arguments for the "policy of conciliation" which, by his own recent admission in the New York Times,8 he had earlier endorsed. Published two weeks before Russell spoke on a similar topic at the Barnes Foundation, this 2,000-word letter to the editor served as a very detailed and public renunciation of the pacifist viewpoint—neutrality for national governments combined with non-resistance for individuals—which Russell had promoted in Which Way to Peace? (1936) and continued to condone after the Munich Agreement (September 1938) and even the dismemberment of Czechoslovakia (March 1939).Yet Russell the "relative political pacifist"9 also admitted in this most programmatic statement of his prewar position that "In other times and other circumstances, I should be prepared to consider gains and losses, and to concede that war might be worth while" (WWP, pp. 151–2).That moment had obviously arrived and may have done so already when on 15 October 1939 Russell confided to Constance Malleson that his passionate desire for a British victory made a "thorough-going pacifism difficult" (ra Rec. Acq. 596). But six months later he still did "not feel sufficiently sure of the opposite to say anything publicly by way of recantation"—before adding in this letter to Gilbert Murray that "it may come to that" (21 April 1940, ra Rec. Acq. 71g). It clearly did shortly afterwards—when the "phoney war" in Western Europe was dramatically ended by the invasion of France and the [End Page 53] Low Countries. On 13 May Russell asked the editor of the New Statesman and Nation to notify its readers that he had abandoned his once strongly held pacifist convictions.10In his lecture to the Barnes Foundation, Russell turned next to the defence of American non-intervention by Robert M. Hutchins (see n. 16 below)—which he had already critiqued in the New York Times. Although rather precariously situated as a resident alien in the United States, Russell was hardly circumspect about pushing a policy that so sharply divided American opinion.11 He also listed the faults of the League of Nations and the most grievous diplomatic mistakes made since the end of the last war and the fatally... (shrink)

Tentative conclusions from this study of readers' responses to a series of "You Be The Editor" features suggest that divergences in ethical attitudes and values may be due to differences in moral sensitivity and motivation, as outlined in James R. Rest's "Four Component Model." In the majority of cases in which editors and readers were on opposing sides, many readers seemed unaware of the professional and institutional considerations that motivated the editors. The editors, on the other hand, were (...) much less disposed than readers to be guided by their human sympathies and sensitivities. (shrink)

Editors’ Note: As a matter of policy, the editors believe that publishing several reviews of selected texts is a valuable exercise which will enable a cross-section of views to be aired.Copies of this report can be obtained from the Nuffield Council on Bioethics, 28 Bedford Square, London WC1B 3EG, U.K.. The report publishes the recommendation of a Working Party set up in January 1995. Following a wide public consultation, the Working Party prepared its report on xenotransplantation which has been endorsed (...) by the Nuffield Council on Bioethics. (shrink)

Eric G. Forbes, Lesley Murdin and Francis Willmoth , The Correspondence of John Flamsteed, First Astronomer Royal. Volume 1: 1666–1682. Bristol and Philadelphia: Institute of Physics Publishing, 1995. Pp. xlix+955. ISBN 0-7503-0147-3. £140.00, $280.00.Heinz-Jurgen Hess, James G. O'Hara and Herbert Breger , Gottfried Wilhelm Leibniz: Sämtliche Schriften und Briefe. Dritte Reihe, Mathematischer, naturwissenschaftlicher und technischer Briefwechsel: Volume 3, 1680–1683; Volume 4, 1683–1690. Berlin: Akademie Verlag, 1991, 1995. Pp. lxx+895; lxvi+747. ISBN 3-05-000766-4, DM 490.00 ; 3-05-002602-2, DM 490.00 .Wilhelm Schmidt-Biggemann , (...) Samuel Pufendorf. Gesammelte Werke, Band 1: Briefwechsel . Berlin: Akademie Verlag, 1996. Pp. xxix+453. ISBN 3-05-001920-4. DM 298.00.The editing of the correspondence of major figures in intellectual history is an essential scholarly activity. Yet in this country in recent years it has neither been the priority it should be, nor has it received the support that it deserves. Of course there have been exceptions to this, perhaps notably – for the early modern period – the epic one-man effort of Esmond de Beer in his later years in producing The Correspondence of John Locke . A further exception, the edition of The Correspondence of Henry Oldenburg by A. R. and M. B. Hall, was unfortunately flawed by the need to change publishers midway in the series, which has led to a marked disparity in the availability of the latter part of the set compared with its early volumes. In any case, like the Locke edition, this was conceived in the heady days of the 1960s and early 1970s, and few have ventured such enterprises since. Virtually the only exception is Noel Malcolm's edition of the manageable-sized Correspondence of Thomas Hobbes . Moreover, it is revealing of the acute need to justify the publication of such material felt by editors and publishers alike that the promotional leaflet for this edition went so far as to claim that it was ‘one of the most important scholarly publications of the twentieth century’ – a claim that is the more ironic in view of the quite significant shortcomings in its method of presenting the material that it contains. (shrink)

with the publication in this issue of Alice Ragni's "Bibliographia Claubergiana : Tracking a Crossroads in the History of Philosophy," we inaugurate a new series in the JHP, Research Tools for Historians of Philosophy. This series will publish occasional article-length studies that serve as resources for philosophers who do primary text scholarship: bibliographies, catalogs of manuscripts and correspondence, information about libraries and research collections, editions of previously unpublished sources, translations of sources previously unavailable in major European languages, and (...) so on. In the queue for volume 58 next year is an inventory of the correspondence of Elisabeth of... (shrink)

Welcome to the new series of "Thought and Practice: A Journal of the Philosophical Association of Kenya". Africa’s socio-political crisis is multi-faceted, and therefore requires a many-pronged approach. It is for this reason that Thought and Practice seeks to serve as a forum for scholars with broad interests in the humanities and social sciences, where they can exchange ideas on various facets of Africa’s current realities and challenges.