Evan William Cameron Thinking through Imagery _Film-Philosophy_, vol. 3 no. 22, May 1999.

Imagining structures from the ekphrastic descriptions of the Jerusalem Temple and Temple Mount in I Kings and Ezekiel is an ancient meditation discipline, which was adopted from Jewish practices into early Christian monasticism. Though it could take various forms, ‘imagining/remembering Jerusalem’ was often practised as a devotional exercise throughout the European Middle Ages. Drawings of such an imagined character are significant to late medieval exegesis of these and related scriptural materials, particularly those associated with the commentaries of Nicholas of Lyra (...) and the collection of visual meditations known as the Speculum theologie. This chapter queries a late medieval illuminated manuscript that, in the fifteenth century, formed part of the library of St John's Hospital in Exeter, to suggest that its materials were acquired and used for scriptural study and sermon composition by scholars of the hospital and its associated school. (shrink)

This 1997 book was the first English translation of all of Kant's writings on moral and political philosophy collected in a single volume. No other collection competes with the comprehensiveness of this one. As well as Kant's most famous moral and political writings, the Groundwork of the Metaphysics of Morals, the Critique of Practical Reason, the Metaphysics of Morals, and Toward Perpetual Peace, the volume includes shorter essays and reviews, some of which have never been translated before. The volume has (...) been furnished with a substantial editorial apparatus including translator's introductions and explanatory notes to each text by Mary Gregor, and a general introduction to Kant's moral and political philosophy by Allen Wood. There is also an English-German and German-English glossary of key terms. (shrink)

This 1997 book was the first English translation of all of Kant's writings on moral and political philosophy collected in a single volume. No other collection competes with the comprehensiveness of this one. As well as Kant's most famous moral and political writings, the Groundwork of the Metaphysics of Morals, the Critique of Practical Reason, the Metaphysics of Morals, and Toward Perpetual Peace, the volume includes shorter essays and reviews, some of which have never been translated before. The volume has (...) been furnished with a substantial editorial apparatus including translator's introductions and explanatory notes to each text by Mary Gregor, and a general introduction to Kant's moral and political philosophy by Allen Wood. There is also an English-German and German-English glossary of key terms. (shrink)

The Irish are largely invisible as an ethnic group in Britain but continue to be racialized as inferior and alien Others. Invisibility has been reinforced by academic treatment Most historians have assumed that a framework of assimilation is appropriate and this outcome is uncritically accepted as desirable. Sociologists on the other hand have excluded the Irish from consideration, providing tacit support for the ‘myth of homogeneity’ of white people in Britain against the supposedly new phenomenon of threatening (Black) ‘immigrants’. Focus (...) on the paradigm of ‘colour’ has limited the range of racist ideologies examined and led to denial of anti-Irish racism. But an analysis of nineteenth-century attitudes shows that the ‘Irish Catholic’ was a significant Other in the construction of the British nationalist myth. Despite contemporary forgetting, hostility towards the Irish continues, over and above immediate reactions to recent IRA campaigns. Verbal abuse and racial harassment are documented in London and elsewhere, but unacknowledged. The masculine imagery of ‘Paddy’ hides the existence of Irish women in Britain, although they have outnumbered men since the 1920s. In America, by contrast, there is a strong stereotype of ‘Bridget’ and her central contribution to Irish upward mobility is recognized. But invisibility does not protect Irish women in Britain from racism. Indeed, they are often more exposed since their productive and reproductive roles connect more firmly to British society. Moreover, women have played a key role in maintaining Catholic adherence, which continues to resonate closely with Irishness and difference. (shrink)

In A Rhetoric and Philosophy of Gifts, Eberhardinger discusses how gift character is one of the only qualities that individuate us as social beings on Earth. The horizon and rhetorical power of gift character offers discursive revelations about communication and the human condition.

ALTHOUGH the content of Alexander Gottlieb Baumgarten's Aesthetica seems to be familiar in German philosophical circles, it is relatively unknown outside Germany. Most of us are aware that it was Baumgarten who coined the name "aesthetics" for the new philosophical discipline his Aesthetica was intended to establish; but as for the content of that work, our acquaintance is likely to be indirect, through two remarks of Kant. Explaining his own use of "Transcendental Aesthetic" in the Critique of Pure Reason, Kant (...) criticizes Baumgarten's "abortive attempt... to bring the critical treatment of the beautiful under rational principles and so to raise its rules to the rank of a science". In the Critique of Judgment, it is generally assumed to be Baumgarten Kant has in mind when, arguing that judgments of beauty are not cognitive or "logical" judgments, he criticizes the view that beauty is perfection known confusedly or indistinctly. Combining Kant's remark with Leibniz's view that beauty is--or, more precisely, flows from--perfection, we might conclude that Baumgarten simply lowered beauty from the level of distinct to that of confused concepts and tried to deduce its rules from the concept of perfection. If this was indeed Baumgarten's project, we might well ask to be excused from pursuing the subject further. (shrink)

In a time of rapid technological and social change, business organizations must help their employees develop a new appreciation of how social and ethical values are being shaped and challenged by evolving information technologies. Many ethical and social conflicts have arisen around the advanced information technology used today. The emerging technologies continue to create situations not previously encountered. There are numerous risks facing corporations involved in the use of computing technology. Leaders of organizations looking ahead to assess the impact of (...) technological changes can try to prepare their employees for the future. This paper addresses the urgent need for individuals in corporations to become more knowledgeable about computing technologies and their impact. (shrink)

The Metaphysics of Morals is Kant's major work in applied moral philosophy in which he deals with the basic principles of rights and of virtues. It comprises two parts: the 'Doctrine of Right', which deals with the rights which people have or can acquire, and the 'Doctrine of Virtue', which deals with the virtues they ought to acquire. Mary Gregor's translation, revised for publication in the Cambridge Texts in the History of Philosophy series, is the only complete translation of (...) the whole text, and includes extensive annotation on Kant's difficult and sometimes unfamiliar vocabulary. A new introduction by Roger Sullivan sets the work in its historical and philosophical context. This volume will be of wide interest to students of ethics and of legal and political philosophy. (shrink)

The usual metaphor for time is a flow. Edmund Husserl, in describing experience of our inner temporality, uses the term often: Fluss. In the final three decades of his life (1900s to 1930s), he gives us a well-articulated theory of time, especially the experience of its ongoingness and of our- selves in the processing of time. He refers to this latter, our immanent temporality, as a "flux" or flow and thus calls up the image of the river moving along with (...) its contents comprised in that flowing, gaining their fluent qualities from it. Yet Husserl's theory is not limited to a mechanistic understanding of flow as pure series, but in fact incorporates both a serial- ized aspect and a decentering, highly complex aspect of inner time-con- sciousness. The theory, then, requires a new metaphor, a re-mapping from serialistic diagrams to more dynamic ones. The challenge lies not only in achieving this re-mapping, but in showing the relation of dynamic diagrams to the serialistic ones that are still vital to the full descriptions of inner time- consciousness. (shrink)

It has been known for 20 years that the ribosomal protein S6 is rapidly phosphorylated when cells are stimulated to grow or divide. Furthermore, numerous studies have documented that there is a strong correlation between increases in S6 phosphorylation and protein synthesis, leading to the idea that S6 phosphorylation is involved in up‐regulating translation. In an attempt to define a mechanism by which S6 phosphorylation exerts translational control, other studies have focused on characterizing the sites of phosphorylation of this protein (...) and its location within the ribosome. Recent data show that S6 is a protein which may have diverse cellular functions and is essential for normal development, and that it may be involved in the translational regulation of a specific class of messages. (shrink)

Language for God explores the ways language and images influence who we are and how we live. It declares the necessity of language and images for God that are expansive and inclusive of all genders. Lutheran perspectives are used as a compass to offer scriptural, theological, and historical insights to advance the reformation of Christian language.

In the wake of important scholarship on Jesus’ humanity, feminist chris-tology suffers from a struggle to articulate the divinity of Jesus Christ because of its criticism of sacrificial atonement theory, which has led to didactic or exemplary models of redemption. Feminist theology stands in need of further discussion in an effort to articulate feminist incarnational atonement theory more thoroughly. Schleiermacher’s theology, especially as it is articulated in his theory of preaching, aids feminist theology in claiming Jesus’ divinity while simultaneously maintaining (...) criticism of a violent atonement and relocating the power of the incarnation away from Jesus’ maleness to the preached Word in the community. The basis of feminist incarnational atonement theory is initially found within four major areas of dialogue: in a central focus on Jesus’ life, in definitions of redemption, in the centrality of community, and in criticism of the violence of the atonement. (shrink)

In this essay, the structure and content of theiones, a mid-thirteenthcentury collection of sophismata ascribed to a ‘Magister Ricardus’, are described. It is then argued that the text of the Abstractiones itself together with its “descendant” works present us with a case of textual evolution: the main text appears itself to be the result of patchwork and development, with each manuscript in effect a variation of the work; the descendant works continue the job of modifying the text, now so selectively (...) and radically that they can no longer be described as versions of the Abstractiones itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity of Langer's philosophy (...) as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Susanne Langer in Focus: The Symbolic MindMary J. ReichlingRobert E. Innis, Susanne Langer in Focus: The Symbolic Mind (Indiana University Press: Indianapolis, 2009)The very first sentence of this book establishes the author's goal: "to bring as clearly as possible the total range of Susanne Langer's work 'into focus'" (p. xi). Such an aim strains credulity when one is familiar with the depth, breadth, and complexity of Langer's philosophy (...) as it encompasses her complete works. Yet, Innis manages to trace the development of Langer's thought from its roots in her earliest work, The Practice of Philosophy, through the intervening books, and concluding with her theory of mind and the three volumes of Mind: An Essay on Human Feeling. Susanne Langer in Focus is the most comprehensive analysis of the progression of Langer's thought I have found to date. It is a project of Herculean proportion and one which Innis accomplishes quite well in a lucid and scholarly, though sometimes pedantic, manner despite some matters that I wish to pursue more fully.However it is important to note at the outset that Innis sharply limits his use of secondary sources and prefers to restrict involvement with "scholarly quarrels" thus choosing not to engage with Langer's detractors (p. xi). This was a disappointment for me because I share Innis's advocacy with respect to Langer's aesthetic theory and would appreciate a voice as knowledgeable and well grounded [End Page 213] as his taking on some of these arguments. Nevertheless, Langer has long been popular among musicians and music educators who will find here a sensitive and penetrating presentation of Langer's aesthetic theory and an analysis of music specifically as a paradigm for that theory.The text is divided into nine chapters preceded by an interesting biographical sketch of Langer. It appears to me that these chapters group nicely into three sections, my division, not Innis's. The first includes chapters one and two concerned with the origins of Langer's philosophy and symbol theory as found in The Practice of Philosophy, Introduction to Symbolic Logic, and to some extent, Philosophy in a New Key. The second embraces chapters three, four, and five giving primary consideration to her non-discursive or presentational symbolism, symbolic transformation, ritual, myth, and art as found in Philosophy in a New Key and Feeling and Form. The third section, chapter six, seven, and eight, is devoted to Langer's trilogy, the three volumes of Mind. A short ninth chapter concludes the book with Innes's perspective on the dimensions and position of Langer's philosophical undertaking in the broader context of philosophy in general.That said, I now wish to offer my take on some of the fruits of Innes's harvest examining each of the orchards (sections) in turn. At the outset, Innis stresses Langer's view of the position and purpose of philosophy stating that it embraces all the rational sciences in a systematic study of meaning. In fact for Langer, the logical analysis is to philosophy what observation is to science, a first step. This relation, as a kind of dialectical tension between philosophy and science, especially with respect to method, is one of Langer's major contributions as Innis points out much later in his concluding chapter. What I find quite helpful, though, is Innis's explanation of Langer's concept of a type of understanding that is non-discursive. This provides an epistemological basis for the nature of myth and art, so critical, in my opinion, to grasping Langer's theory of music as a symbol of feeling. (But I am ahead of Innis.)Innis shows that Langer's theory is grounded empirically in the psychology of perception and imagination because these allow the perceiver to abstract meaning from the form that embodies it. He continues illuminating and clarifying several terms such as abstraction, projection, semblance, virtual image, imagination, illusion, and more. His discussion of metaphor, primarily as it relates to Langer's theory of presentational symbolism, is extremely well done. His emphasis on metaphor as more than a mode of inquiry is particularly significant. Few, if any, writers about Langer... (shrink)

This essay explores the implications of a commonly held ancient and medieval belief that human memory and invention are, if not exactly the same, the closest thing to it. In order to create, in order to think at all, human beings require both a well-provisioned stock of memory-held knowledge and some mental tool or machine, an engine which lives in the intricate networks of their own memories. In the verbal arts of the trivium students learned the basic principles of memory (...) training: the need for divisio, the need to make a clear, distinct location for each piece of memorized content, and the need to mark items uniquely for secure recollection. Frequently these mental structures took the form of images. Evidence for such memorial and compositional images is common: I focus on a few representative types, including the sermon-related “Cherub” figure of the later Middle Ages, and accounts by Cassiodorus and others of scholars, even when blind, using their highly structured memories to compose new work. (shrink)