The association of poetry and femininity … excluded women poets. For the female figures onto whom the men projected their artistic selves—Tennyson’s Mariana and Lady of Shalott, Browning’s Pippa and Balaustion, Arnold’s Iseult of Brittany—represent an intensification of only a part of the poet, not his full consciousness: a part, furthermore, which is defined as separate from and ignorant of the public world and the great range of human experience in society. Such figures could not write their own poems; the (...) male poet, who stands outside the private world of art, has to do that for them. The Lady of Shalott could not imagine someone complex and experienced enough to imagine the world beyond range of her windows, or to imagine her. A woman poet who identified herself with such a stock figure of intense and isolated art would hardly be able to write at all. Or, like the Lady of Shalott preparing her death-ship, she could write only her own name, only herself. For a man, writing poetry meant an apparent withdrawal from the public sphere , but for a woman it meant just the opposite: a move toward public engagement and self-assertion in the masculine world. She could not just reverse the roles in her poetry and create a comparable male self-projection, since the male in this set of opposites is defined as experienced, complexly self-conscious, and part of the public world and therefore could not serve as a figure for the poet. We can formulate the problem like this: a man’s poem which contains a female self-projection shows to distinctly different figures, poet and projection; in a woman’s poem on the same model, the two would blur into one.Furthermore, it’s not really poets that are women, for the Victorians: poems are women. The cliché that style is the man arises more readily and with much greater literalness and force when the stylist is a woman, and it is often charged with erotic intensity. The young lovers in Gilbert and Sullivan’s Iolanthe describe their perfect love by singing that he is the sculptor and she the clay, he the singer and she the song. Ladislaw in Middlemarch tells Dorothea that she needn’t write poems because she is a poem. Edgar Allan Poe remarks in a review of Barrett Browning’s works that “a woman and her book are identical.” In her love letters Barrett Browning herself worried about the problem of her identity—was she her poems, were they she, which was Browning in love with? “I love your verses with all my heart, dear Miss Barrett,” he had written disconcertingly in his first letter, “… and I love you too.” […] As we can see in Tennyson’s The Princess, the lyric in particular seemed female to Victorians—private, nonlogical, purely emotional—and it is surely no accident that large numbers of English and American women began to publish poetry in the nineteenth century, when the lyric established its dominance. Victorian poems like Victorian women were expected to be morally and spiritually uplifting, to stay mostly in the private sphere, and to provide emotional stimulus and release for overtasked men of affairs.9 All this may have encouraged women to write poetry, but at the same time it made writing peculiarly difficult because it reinforced the aspects of conventional Victorian femininity—narcissism, passivity, submission, silence—most inimical to creative activity. Since women already are the objects they try to create, why should they write? 9. John Woolford points this out in “EBB: Woman and Poet,” Browning Society Notes 9 : 4. Dorothy Mermin is professor and chairman in the department of English at Cornell University. She is the author of The Audience in the Poem and is currently working on a critical study of Elizabeth Barrett Browning. (shrink)

Sometimes we remember past objects or events in a vivid, experiential way. The present paper addresses some fundamental questions about the metaphysics of such experiential or ‘recollective’ memories. More specifically, it develops the ‘Relational Account’ of recollective memory, which consists of the following three claims. A subject who recollectively remembers a past object or event stands in an experiential relation to the relevant past object or event. The R‐remembered object or event itself is a part of the R‐memory; that is, (...) the subject's present R‐memory is partly constituted by the relevant past object or event. When a subject R‐remembers a past object, the past object is a constitutive part of the conscious experience itself; that is, the object is immediately available to the subject in conscious experience. In developing the Relational Account, the present paper hopes to make a substantial contribution to any attempt to account for the nature of recollective memory. Furthermore, in order to explain how a subject could understand the beliefs that she forms about the past on the basis of an R‐memory, and how a subject could, on the basis of an R‐memory, gain any knowledge about the past, we arguably also need to rely on the Relational Account of recollective memory. Thus, the Relational Account will also play an important role in an attempt to account for various other ways in which a subject might be related to the past in general, and to her own past in particular. Standing in such relations to the past is, in turn, a central feature of our human existence. Ultimately, therefore, the Relational Account of recollective memory should also play a crucial role in furthering our understanding of ourselves, and of our own existence in time. (shrink)

What is ethics? Where do moral standards come from? Are they based on emotions, reason, or some innate sense of right and wrong? For many scientists, the key lies entirely in biology---especially in Darwinian theories of evolution and self-preservation. But if evolution is a struggle for survival, why are we still capable of altruism? In his classic study The Expanding Circle, Peter Singer argues that altruism began as a genetically based drive to protect one's kin and community members but (...) has developed into a consciously chosen ethic with an expanding circle of moral concern. Drawing on philosophy and evolutionary psychology, he demonstrates that human ethics cannot be explained by biology alone. Rather, it is our capacity for reasoning that makes moral progress possible. In a new afterword, Singer takes stock of his argument in light or recent research on the evolution of morality.--Publisher's description. (shrink)

Bringing together new essays by philosophers and activists, _In Defense of Animals: The Second Wave_ highlights the new challenges facing the animal rights movement. Exciting new collection edited by controversial philosopher Peter Singer, who made animal rights into an international concern when he first published _In Defence of Animals_ and _Animal Liberation_ over thirty years ago Essays explore new ways of measuring animal suffering, reassess the question of personhood, and draw highlight tales of effective advocacy Lays out “Ten Tips (...) for Activists”, taking the reader beyond ethical theory and into the day-to-day campaigns for animal rights. (shrink)

Imagine you are walking through a park. Suddenly, a mugger points a gun at you, threatening to shoot you if you do not hand over your valuables. Is this an instance of domination? Many authors working within the neo-republican framework - including Philip Pettit himself - are inclined to say 'yes'. After all, the mugger case seems to be a paradigmatic example of what it means to be at someone's mercy. However, I argue that this conclusion is based on a (...) misleading, interactional account of domination that misconceives its structural character. Domination, I maintain, is a structurally constituted form of power. Whether the mugger in the park dominates you or not can only be established by analysing the wider power structures in which your interaction is embedded. (shrink)

Dorothea Olkowski's exploration of the philosophy of Gilles Deleuze clarifies the gifted French thinker's writings for specialists and nonspecialists alike. Deleuze, she says, accomplished the "ruin of representation," the complete overthrow of hierarchic, organic thought in philosophy, politics, aesthetics, and ethics, as well as in society at large. In Deleuze's philosophy of difference, she discovers the source of a new ontology of change, which in turn opens up the creation of new modes of life and thought, not only in (...) philosophy and feminism but wherever creation is at stake. The work of contemporary artist Mary Kelly has been central to Olkowski's thinking. In Kelly she finds an artist at work whose creative acts are in themselves the ruin of representation as a whole, and the text is illustrated with Kelly's art. This original and provocative account of Deleuze contributes significantly to a critical feminist politics and philosophy, as well as to an understanding of feminist art. (shrink)

For this special issue dedicated to Jonathan Glover, Peter Singer was asked to reflect on the influence that the book Causing Death and Saving Lives had on him, as well as the Glover seminar in Oxford that Peter Singer attended in the late 1960s. One of Peter Singer's recurring arguments is the criticism of the traditional distinction between acts and omissions. But Glover is no stranger to this questioning, even if the two thinkers do not seem to (...) want to draw exactly the same conclusions. What is at stake is this: what are we really responsible for and how demanding should our morality be? (shrink)

Dorothea Olkowski's exploration of the philosophy of Gilles Deleuze clarifies the gifted French thinker's writings for specialists and nonspecialists alike. Deleuze, she says, accomplished the "ruin of representation," the complete overthrow of hierarchic, organic thought in philosophy, politics, aesthetics, and ethics, as well as in society at large. In Deleuze's philosophy of difference, she discovers the source of a new ontology of change, which in turn opens up the creation of new modes of life and thought, not only in (...) philosophy and feminism but wherever creation is at stake. The work of contemporary artist Mary Kelly has been central to Olkowski's thinking. In Kelly she finds an artist at work whose creative acts are in themselves the ruin of representation as a whole, and the text is illustrated with Kelly's art. This original and provocative account of Deleuze contributes significantly to a critical feminist politics and philosophy, as well as to an understanding of feminist art. (shrink)

Phantasia is viewed as a unified concept in Aristotle. When the metaphoric meaning of ‘phantisizing’ is excluded, the causal account for all imagination is the same: all phantasiai are motions in the soul caused by sense-perceptions. These are sensory images or imprints that can exist independently from their original source. Their history may be different, and their character and value may vary. Aristotle’s insistence on their sensory nature indicates that he saw them as a unitary phenomenon in the soul, as (...) sensory appearances. (shrink)

_The Infrastructure of Accountability _brings together leading and emerging scholars who set forth an ambitious conceptual framework for understanding the full impact of large-scale, performance-based accountability systems on education. Over the past 20 years, schools and school systems have been utterly reshaped by the demands of test-based accountability. Interest in large-scale performance data has reached an unprecedented high point. Yet most education researchers focus primarily on questions of data quality and the effectiveness of data use. In this bold and thought-provoking (...) volume, the contributors look beneath the surface of all this activity to uncover the hidden infrastructure that supports the production, flow, and use of data in education, and explore the impact of these large-scale information systems on American schooling. These systems, the editors note, “sit at the juncture of technical networks, work practices, knowledge production, and moral order. (shrink)

For thirty years, Peter Singer's Practical Ethics has been the classic introduction to applied ethics. For this third edition, the author has revised and updated all the chapters and added a new chapter addressing climate change, one of the most important ethical challenges of our generation. Some of the questions discussed in this book concern our daily lives. Is it ethical to buy luxuries when others do not have enough to eat? Should we buy meat from intensively reared animals? (...) Am I doing something wrong if my carbon footprint is above the global average? Other questions confront us as concerned citizens: equality and discrimination on the grounds of race or sex; abortion, the use of embryos for research and euthanasia; political violence and terrorism; and the preservation of our planet's environment. This book's lucid style and provocative arguments make it an ideal text for university courses and for anyone willing to think about how she or he ought to live. (shrink)

ABSTRACT:Partnerships between companies and NGOs have received considerable attention in CSR in the past years. However, the role of NGO legitimacy in such partnerships has thus far been neglected. We argue that NGOs assume a status as special stakeholders of corporations which act on behalf of the common good. This role requires a particular focus on their moral legitimacy. We introduce a conceptual framework for analysing the moral legitimacy of NGOs along three dimensions, building on the theory of deliberative democracy. (...) Against this background we outline three procedural characteristics which are essential for judging the legitimacy of NGOs as potential or actual partners of corporations. (shrink)

ABSTRACT While multiple crisis phenomena have sparked experimentation with alternative forms of production and consumption on the micro level, it is not clear if and how these alternative practices may become hegemonic and thus displace capitalism as the hegemonic order on the macro level, rather than merely fostering pockets of a solidarity economy within capitalism. This question is hard to research, because it relates to post-capitalist futures rather than actual events or phenomena in the past or present. In this article, (...) I propose a methodological framework for studying the transformative potential of counter-hegemonic initiatives. Building on debates on causality and prediction within Critical Realism, I introduce the concept of ‘ex-ante’ retroduction. Using this mode of reasoning helps to identify possible generative mechanisms for the viability and achievability of alternative futures which can then be empirically investigated. (shrink)

_The Universal_ proposes a radically new philosophical system that moves from ontology to ethics. Drawing on the work of De Beauvoir, Sartre, and Le Doeuff, among others, and addressing a range of topics from the Asian sex trade to late capitalism, quantum gravity, and Merleau-Ponty's views on cinema, Dorothea Olkowski stretches the mathematical, political, epistemological, and aesthetic limits of continental philosophy and introduces a new perspective on political structures. Straddling a course between formalism and conventionalism, Olkowski develops the concept (...) of an ontological unconscious that arises from our "sensible" relation to the world-the information we absorb and emit that affects our encounters with the environment and others. In this "realm of the senses," or the field of vulnerability defined by our experience with pleasure and pain, Olkowski is able to rethink the space-time relations put forth by Irigaray's notion of the "interval," Bergson's "recollection," Merleau-Ponty's idea of the "flesh," and Deleuze's "plane of immanence." This aesthetic sense is shared by all humankind and nonhuman entities in the organic and inorganic world. The sensible universal can be applied to categories of pure and practical reason; experiential binaries of male-female and subject-object; and issues of autonomy, moral laws, and the regulation of perception. (shrink)