Though he has worked almost exclusively in collaborative mediums like radio and film, Orson Welles has always tended to think of himself as an individual author. "Any production in any medium is a one-man production," he said to me. On the question of sharing creative responsibility for the works that bear his name, he is deeply ambivalent. His insistence on multiple billings for himself is legendary. As I can well testify, the very mention of the term collaboration at a wrong (...) moment can be enough to send him into a rage. The controversy over who scripted Citizen Kane initiated by Pauline Kael hurt him very deeply. That the wound still festers to this day is evident in the rancor with which he speaks of former associates like John Houseman. Yet in quieter moments he will fully concede how indispensable his principal collaborators have been to him and will openly discuss the nature and extent of their contributions. He is especially full of praise for cinematographers with whom he has worked over the years, such as Gregg Toland, Russell Metty, and, more recently, Gary Graver. On Citizen Kane, he singles out four individuals whom he thinks deserve special recognition: writer Herman Mankiewicz, art director Perry Ferguson, composer Bernard Herrmann, and Toland. Of these, he says, Toland's contribution to the film was the greatest, second in importance only to his own. In this essay I deal with the history and nature of Welles' collaboration with Toland on Citizen Kane—what brought them together, their working relationship, and the characteristics and rationale of the visual plan they created for the film. As we shall see, Toland brought a largely pre-conceived visual plan to Citizen Kanewhich he had been working out in his previous films. Welles accepted Toland's plan so readily because he recognized how dramatically appropriate it was to the story material. Toland's cinematography for Citizen Kane also left a major legacy to Hollywood films of the 1940s.Robert L. Carringer, is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign. This essay is excerpted from his book in progress, The Road through Xanadu. His most recent contribution to Critical Inquiry was "The Scripts of Citizen Kane". (shrink)

It is widely thought that what finally characterizes American literary narratives is a preoccupation with Americanness. If the "great theme" of European fiction has been "man's life in society," Walter Allen writes in The Modern Novel, "the great theme of American fiction has been the exploration of what it means to be an American." The best American film narratives also seem to bear out this proposition, especially those of the great American naturals like Griffith and Ford and Hawks, and most (...) especially Orson Welles' Citizen Kane , regarded by many as the greatest American film. Welles' film belongs to that category of narratives which take a prominent figure from contemporary American life and use him to stand for what are conceived to be representative traits of the collective American character. Understandably, then, there are many general resemblances in the film to other well-known stories of American entrepreneurs, magnates, and tycoons. Long before the flourishing of tycoon biographies in the American sound film, well before F. Scott Fitzgerald or Sinclair Lewis or Theodore Dreiser, before even Henry James, certain conventions and associations had become well established in stories of this type. The up-and-coming young American was shrewd and practical, an image of compulsive energy, a man with his eye always on the future. His Americanness also consisted of such traits as enterprise, indomitable idealism, a certain naturalness and openness to experience, and a relentless will to succeed. His geographical origin could be made to carry moral force, and he or another character who equated American commercial noblesse oblige with universal morality could be a useful thematic touchstone. Robert L. Carringer is an assistant professor of English at the University of Illinois at Urbana-Champaign. He teaches and writes on film, American literature, and interdisciplinary approaches to literature. This study is the first in a series of essays in progress on American films and American narrative tradition. He has also contributed "The Scripts of Citizen Kane" to Critical Inquiry. (shrink)

The best-known controversy in film criticism of recent years has been over the authorship of the Citizen Kane script. Pauline Kael first raised the issue in a flamboyant piece in The New Yorker in 1971. Contrary to what Orson Welles would like us to believe, Kael charged, the script for the film was actually not his work but almost wholly the work of an all-but-forgotten figure, one of Hollywood's veteran screenwriters, Herman J. Mankiewicz. . . . The first two drafts (...) of the Citizen Kane script were written by Herman Mankiewicz and John Houseman in seclusion in the desert at Victorville, California, during March, April, and May 1940. Officially, Houseman was there as an editor. But part of his job was to ride herd on Mankiewicz, whose drinking habits were legendary and whose screenwriting credentials unfortunately did not include a reputation for seeing things through. Detailed accounts of the Victorville interlude have been given by Houseman in his autobiography and by Kael in "Raising Kane." There was constant interchange between Victorville and Hollywood, with Houseman going in to confer on the script and Welles sending up emissaries and regularly receiving copies of the work in progress. Welles in turn was working over the draft pages with the assistance of his own secretary, Katherine Trosper, and handing the revised screenplay copy in its rough state over to Amalia Kent, a script supervisor at RKO noted for her skills at breaking this kind of material down into script continuity form, who was readying it for the stenographic and various production departments.1 · 1. John Houseman, Run-Through: A Memoir , pp. 445-61. "Raising Kane," pp. 29-39. Amalia Kent had impressed Welles with her work on the problematic first-person script for his unproduced Heart of Darkness film, and she worked directly with him on various script supervision capacities on other of his RKO projects, including The Magnificent Ambersons and the unproduced Smiler with the Knife. She also continued as the script supervisor throughout the shooting of Citizen Kane and prepared the cutting reports for the film's editor, Robert Wise. Kael gives the impression that Rita Alexander, Herman Mankiewicz's private secretary, was performing all these specialized studio functions herself. Robert L. Carringer is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign and the author of Ernst Lubitsch. His forthcoming edition of The Jazz Singer will begin the Warner Brothers script series. "Citizen Kane, The Great Gatsby, and Some Conventions of American Narrative," his previous contribution to Critical Inquiry, appeared in the Winter 1975 issue. (shrink)

We began by distinguishing Tarskian and Fitchean notions of universality in such a way that the claim that no language is universal in the sense of Tarski is compatible with accepting Fitchean universality. Then we examined a proposal involving two truth concepts — one that fit the Fitchean notion and another that followed Tarski's views on truth — finding little advantage in such generosity. We attempted a reformulation of Herzberger's argument for the negative view — the view that no language (...) is universal in Tarski's sense — but found it unsuccessful when the language of the argument's formulation was brought under consideration. A more persuasive argument for EI was found, free of the defect of the previous one. EI was then shown to have unsettling consequences, prompting us to inquire about avoiding it. We found this possible, noting that EI is itself a solution to the semantic paradoxes, to which there are alternatives that avoid the unwelcome aspects of EI. However, whether any such alternative is ultimately preferable to EI remains to be seen. (shrink)

For years a debate has raged within the various literatures of philosophy, psychiatry, and psychology over whether, and to what degree, the concepts that characterize psychopathology are social constructions that reflect cultural values. While the majority position among philosophers has been normativist, i.e., that the conception of a mental disorder is value-laden, a vocal and cogent minority have argued that psychopathology results from malfunctions that can be described by terminology that is objective and scientific. Scientists and clinicians have tended to (...) endorse the objectivist position, with some notable exceptions. (shrink)

Experiencing a stimulus in one sensory modality is often associated with an experience in another sensory modality. For instance, seeing a lemon might produce a sensation of sourness. This might indicate some kind of cross-modal correspondence between vision and gustation. The aim of the current study was to provide explore whether such cross-modal correspondences influence cross-modal integration during perceptual learning. To that end, we conducted 2 experiments. Using a speeded classification task, Experiment 1 established a cross-modal correspondence between visual lightness (...) and the frequency of an auditory tone. Using a short-term priming procedure, Experiment 2 showed that manipulation of such cross-modal correspondences led to the creation of a crossmodal unit regardless of the nature of the correspondence (i.e., congruent, Experiment 2a or incongruent, Experiment 2b). However, a comparison of priming-effects sizes suggested that cross-modal correspondences modulate cross-modal integration during learning and thus leading to new learned units that have different stability over time. We discuss the implications of our results for the relation between cross-modal correspondence and perceptual learning in the context of a Bayesian explanation of cross-modal correspondences. (shrink)

Reply to a commentary by Felicitas Holzer and Ignacio Mastroleoon “Models of Consent to Return of Incidental Findings in Genomic Research.”.

A standard objection to act utilitarian theories is that they are not helpful in deciding what it is morally permissible for us to do when we actually have to make a choice between alternatives. That is, such theories are worthless as decision procedures. A standard reply to this objection is that act utilitarian theories can be evaluated solely as theories about right-making characteristics and, when so evaluated, their inadequacy as decision procedures is irrelevant. Even if somewhat unappealing, this is an (...) effective reply to the standard objection. (shrink)

The nature of measurement is a topic of central concern in the philosophy of science and, indeed, measurement is the essential link between science and mathematics. Professor Ellis's book, originally published in 1966, is the first general exposition of the philosophical and logical principles involved in measurement since N. R. Campbell's Principles of Measurement and Calculation, and P. W. Bridgman's Dimensional Analysis. Professor Ellis writes from an empiricist standpoint. His object is to distinguish and define the basic concepts in measurement, (...) for example: scale, quantity, unit. dimension, number and probability. He discusses the problem of classifying scales of measurement and the special logical problems associated with each kind of scale. A translation of mach's Critique on the Concept of Temperature, which gives his views on the nature of measurement more fully than in any of his other works, is given as an appendix. (shrink)

Applied Christian Ethics addresses selected themes in Christian social ethics. Part one shows the roots of contributors in the realist school; part two focuses on different levels of the significance of economics for social justice; and part three deals with both existential experience and government policy in war and peace issues.

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that (...) includes the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

How did the human brain evolve so that consciousness of art could develop? In The Psychology of Art and the Evolution of the Conscious Brain, Robert Solso describes how a consciousness that evolved for other purposes perceives and creates art.Drawing on his earlier book Cognition and the Visual Arts and ten years of new findings in cognitive research, Solso shows that consciousness developed gradually, with distinct components that evolved over time. One of these components is an adaptive consciousness that (...) includes the ability to imagine objects that are not present--an ability that allows us to create visual art.Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception--the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes--which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history and knowledge--the entire set of our expectations and past experiences. Both forms of perception are part of the appreciation of art, and both are products of the evolution of the conscious brain over hundreds of thousands of years.Solso also investigates the related issues of neurological and artistic perception of the human face, the effects of visual illusions, and the use of perspective. The many works of art used as examples are drawn from a wide range of artistic traditions, from ancient Egypt to Africa and India and the European Renaissance. (shrink)

Written with the general reader in mind, this collection will prove useful by both scholar and student, and will lead the general reader to encounter one of the ...

Addressing both collegiate and professional sports, the updated edition of Fair Play explores the ethical presuppositions of competitive athletics and their ...

Addressing both collegiate and professional sports, the updated edition of Fair Play: The Ethics of Sport explores the ethical presuppositions of competitive athletics and their connection both to ethical theory and to concrete moral dilemmas that arise in actual athletic competition. This fourth edition has been updated with new examples, including a discussion of Spygate by the New England Patriots and recent discoveries on the use of performance enhancing drugs by top athletes. Two additional authors, Cesar R. Torres and Peter (...) F. Hager, bring to this edition a discussion of the moral issues involved in youth sports and the ethics of being a fan, as well as a fresh perspective on the theories of broad internalism and the quest for excellence. Furthermore, major criticisms of broad internalism by philosophers William J. Morgan and Scott Kretchmar add a new dimension to the discussion on the moral foundations of winning. (shrink)

The threat of atomic destruction has heightened the criminal irresponsibility of aggression, the employment of war as an instrument of national or bloc policy. Correspondingly, the moral obligation to discourage such a crime or, if it occurs, to deny it victory, has been underscored. The consequences of a successful defense are fearful to contemplate, but the consequences of a successful aggression, with tyrannical monopoly of the weapons of mass destruction, are calculated to be worse. While the avoidance of excessive and (...) indiscriminate violence, and of such destruction as would undermine the basis for future peace, remain moral imperatives in a just war, it does not seem possible to draw a line in advance, beyond which it would be better to yield than to resist. Reinhold Neibuhr. … the person who deeply desires peace rejects any kind of pacifism which is cowardice or the simple preservation of tranquility. In fact, those who are tempted to impose their domination will always encounter the resistance of intelligent and courageous men and women, prepared to defend freedom in order to promote justice. Pope John Paul II For two generations the United States has maintained with its principal adversary, the Soviet Union, a security relationship based upon the deterrence of war by the possession of means deemed adequate to inflict unacceptable levels of damage in response to a Soviet attack upon the United States or its allies. Against the Soviet Union, the world's largest land power, in possession of superior conventional forces that could be launched against Western Europe and other peripheral regions of the continents of Europe and Asia, the United States has held nuclear capabilities as the ultimate weapon to be invoked in support of those interests deemed to be most vital to American security. (shrink)

Contemporary scientific theories assume a primarily micro-deterministic view of nature. This paper explores the question of whether micro-determinism is incompatible with the alleged emergence of properties and laws that some biologists and philosophers assert occurs in various biological systems. I argue that a preferable unified treatment of these emergence claims takes properties, rather than laws, to be the units of emergence. Four distinct conceptions of emergence are explored and three shown to be compatible with micro-determinism. The remaining concept of emergence, (...) direct macro-determination, does not, I argue, meet the general requirement that an adequate scientific explanation provide a coherent mechanism or effective means of determination. (shrink)

The interactivist approach to development generates a framework of types of constraints on what can be constructed. The four constraint types are based on: (1) what the constructed systems are about; (2) the representational relationship itself; (3) the nature of the systems being constructed; and (4) the process of construction itself. We give illustrations of each constraint type. Any developmental theory needs to acknowledge all four types of constraint; however, some current theories conflate different types of constraint, or rely on (...) a single constraint type to explicate development. Such theories will be inherently unable to explain important aspects of development. (shrink)

The threat to the survival of humankind posed by nuclear weapons has been a frightening and essential focus of public debate for the last four decades and must continue to be so if we are to avoid destroying ourselves and the natural world around us. One unfortunate result of preoccupation with the nuclear threat, however, has been a new kind of "respectability" accorded to conventional war. In this radical and cogent argument for pacifism, Robert Holmes asserts that all war--not (...) just nuclear war--has become morally impermissible in the modern world. Addressing a wide audience of informed and concerned readers, he raises dramatic questions about the concepts of "political realism" and nuclear deterrence, makes a number of persuasive suggestions for nonviolent alternatives to war, and presents a rich panorama of thinking about war from St. Augustine to Reinhold Niebuhr and Herman Kahn. Holmes's positions are compellingly presented and will provoke discussion both among convinced pacifists and among those whom he calls "militarists." "Militarists," we realize after reading this book, include the majority of us who live a friendly and peaceful personal life while supporting a system which, if Holmes is correct, guarantees war and risks eventual human extinction. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905. (shrink)

Use of the concept of `areasonable person and his or her expectations'is widely found in legal reasoning. This legalconstruct is employed in the present article toexamine privacy questions associated withcontemporary information technology, especiallythe internet. In particular, reasonableexpectations of privacy while browsing theworld-wide-web and while sending and receivinge-mail are analyzed.

This article offers a critique of research practices typical of experimental philosophy. To that end, it presents a review of methodological issues that have proved crucial to the quality of research in the biobehavioral sciences. It discusses various shortcomings in the experimental philosophy literature related to (1) the credibility of self-report questionnaires, (2) the validity and reliability of measurement, (3) the adherence to appropriate procedures for sampling, random assignment, and handling of participants, and (4) the meticulousness of study reporting. It (...) argues that the future standing of experimental philosophy will hinge upon improvements in research methods. (shrink)

It is not possible to date when environmental studies became ‘Environmental Studies’. Nevertheless it has had a turbulent history marked by inconsistency, conflict and change. It is not surprising that at present it lacks disciplinary coherence and is subject to various definitions, often contradictory. There is ongoing speculation as to the cause of this identity crisis: ‘curricular universalism’ (absence of a unifying concept), academic territorialism and pedagogical clashes. I argue that a philosophical inquiry into the role of values in Environmental (...) Studies provides the missing coherence and unity. Further, I argue that environmental problems directly related to deliberate human action are the province of applied philosophy and offer a formal argument to support this claim, and briefly address and dismiss the controversy over the teaching of values. I conclude that Environmental Studies is inherently part of the philosophical enterprise; as such it belongs with the humanities. The discussion takes as its starting point the context of college and university education in the US, but the issues raised have more general relevance. (shrink)

This volume provides a wide-ranging and lucid introduction to the major ethical theories found in the history of Western philosophy.

When making decisions, humans can observe many kinds of information about others' activities, but their effects on performance are not well understood. We investigated social learning strategies using a simple problem-solving task in which participants search a complex space, and each can view and imitate others' solutions. Results showed that participants combined multiple sources of information to guide learning, including payoffs of peers' solutions, popularity of solution elements among peers, similarity of peers' solutions to their own, and relative payoffs from (...) individual exploration. Furthermore, performance was positively associated with imitation rates at both the individual and group levels. When peers' payoffs were hidden, popularity and similarity biases reversed, participants searched more broadly and randomly, and both quality and equity of exploration suffered. We conclude that when peers' solutions can be effectively compared, imitation does not simply permit scrounging, but it can also facilitate propagation of good solutions for further cumulative exploration. (shrink)

It is not possible to date when environmental studies became ‘Environmental Studies’. Nevertheless it has had a turbulent history marked by inconsistency, conflict and change. It is not surprising that at present it lacks disciplinary coherence and is subject to various definitions, often contradictory. There is ongoing speculation as to the cause of this identity crisis: ‘curricular universalism’ (absence of a unifying concept), academic territorialism and pedagogical clashes. I argue that a philosophical inquiry into the role of values in Environmental (...) Studies provides the missing coherence and unity. Further, I argue that environmental problems directly related to deliberate human action are the province of applied philosophy and offer a formal argument to support this claim, and briefly address and dismiss the controversy over the teaching of values. I conclude that Environmental Studies is inherently part of the philosophical enterprise; as such it belongs with the humanities. The discussion takes as its starting point the context of college and university education in the US, but the issues raised have more general relevance. (shrink)