My goals in this paper are twofold: to outline the refashioning of amateur and professional roles in life science in late Victorian Yorkshire, and to provide a revised historiography of the relationship between amateurs and professionals in this era. Some historical treatments of this relationship assume that amateurs were demoralized by the advances of laboratory science, and so ceased to contribute and were left behind by the autonomous "new biology." Despite this view, I show that many amateurs played a vital (...) part in the construction of a professional academic community in urban Yorkshire, and then continued to collaborate with the laboratory-based biologists. The key to any analysis of the relationship between amateurs and professionals is the great variety of amateur identities and practices in Victorian Yorkshire. The amateur-professional rift fallacy arose because laboratory biologists fashioned an identity in conscious opposition to a particular type of amateur: an ideal that belied an array of cooperative relationships. As naturalists refashioned their roles and identities in light of the changes within academe and without, debates about the practice and place of life science took place as often among amateurs as between professionals and amateurs. (shrink)
Traditional accounts of the emergence of professional biology have privileged not only metropolis over province, but research over teaching and laboratory over museum. This paper seeks to supplement earlier studies of the ‘transformation of biology’ in the late nineteenth century by exploring in detail the developments within three biology departments in Northern English civic colleges. By outlining changes in the teaching practices, research topics and the accommodation of the departments, the authors demonstrate both locally contingent factors in their development and (...) continuities with existing traditions in natural history. The appointment of Arthur Milnes Marshall in preference to Louis Miall to the new zoology chair in Manchester in 1879 casts light on contemporary views of the laboratory and museum as ‘equal though different’. The transformation in biology, in Northern England at least, was shaped more by such local institutional changes than by a phoenix-like rise of the laboratory from the ashes of the museum—more by the rhetorical construction of a professional academic community than any dramatic shift in sites. In this period the biology laboratory supplemented, rather than eclipsed, the museum, and the dichotomy between the ‘naturalist’ and the ‘experimentalist’ was far from clear-cut. (shrink)
Von 1925 bis 1928 wurden im Berliner J. M. Spaeth-Verlag unter der Leitung von Hans Rosenkranz eine Reihe von Werken seinerzeit eher unbekannter, in der Retrospektive jedoch signifikanter Autoren der Zwischenkriegszeit publiziert. Der Beitrag thematisiert Rosenkranz als jungen Verleger und Bewunderer Stefan Zweigs. Er entwirft auf Grundlage der Archivüberlieferung einen neuen Blick auf die Geschichte des Unternehmens und kommentiert das damit verbundene literarische Programm: Welche wichtigen verlegerischen Projekte wurden in jener kurzen Zeit unternommen? Welche Rolle hatte Stefan Zweig für das (...) Zustandekommen einiger Titel und besonders in den letzten Wochen der Verlagsexistenz? Inwiefern lässt sich Programmgestaltung und ökonomische Entwicklung von J. M. Spaeth als paradigmatisch für jüdische Verlage in der Weimarer Republik verstehen? Dazu wird erstmals das Scheitern des Unternehmens während der „Bücherkrise“ Ende der 1920er Jahre aus den Quellen rekonstruiert. (shrink)
This paper gives an account of the debate between F.A. Hayek and J.M. Keynes in the 1930s written for the general public. The purpose of this is twofold. First, to provide the general reader with a narrative of what happened, … More ›.
J.M. Coetzee’s book, 'Elizabeth Costello' is one of the stranger works to appear in recent years. Yet if we focus our attention on the book’s two chapters dealing with animals, two preoccupations emerge. The first sees Coetzee use animals to evoke a particular conception of ethics, one similar to that of the philosopher Mary Midgley. Coetzee’s second theme connects animals to the phenomena of scapegoating, as it has been characterized by the philosophical anthropologist René Girard. While both themes involve human (...) interactions with animals, each transcends application to that particular issue and raises deeper questions, respectively concerning the foundations of morality and the therapeutic allure of political violence. Making explicit these two preoccupations enhances our understanding of Coetzee’s fiction, particularly Disgrace. However, when Coetzee’s two philosophical strands are analyzed in their own terms, the ethics of sympathy is shown to be a more coherent notion than the understanding of politics he takes over from Girard. (shrink)
Theophrasti Characteres recensuit Hermannus Diels. Oxford Classical Texts. 1909. 3s. 6d. net. Pp. xxviii + .Θεοφρστου Xαρακτxs22EFρες. The Characters of Theophrastus. An English Translation from a Revised Text. With Introduction and Notes by R. C. Jebb, M.A. A new edition. Edited by J. E. Sandys, Litt.D. Macmillan. 1909. 7s. 6d. net. c. 23×14½. Pp. xvi+229.
This essay reads J.M. Coetzee’s novel, Diary of a Bad Year, as an occasion to problematize contemporary bioethical paradigms. Coetzee’s rhetorical strategies are analyzed to better understand the “scene of address” within which ethical claims can be voiced. Drawing on Foucault’s Socratic understanding of ethics as the self’s relation to itself, self-relation is explored through the rhetorical figure of catachresis. The essay ultimately argues that the ethical voice emerges when the terms—terms by which I relate to myself, to others, to (...) my own body, and to the bodies of others—are themselves subject to catachrestic refiguration. (shrink)
Perhaps no other novel has received as much attention from moral philosophers as South African writer J. M. Coetzee’s Disgrace . The novel is ethically compelling and yet no moral theory explains its force. Despite clear Kantian moments, neither rationalism nor self-respect can account for the strange ethical task that the protagonist sets for himself. Calling himself the dog man, like the ancient Cynics, this shamelessly cynical protagonist takes his cues for ethics not from humans but from animals. He does (...) not however claim much in the way of empathy or understanding of animals, and his own odd motives remain a puzzle throughout the stages of his ethical transformation. Many scholars approach Coetzee’s text through an ethics of alterity, and even argue that Disgrace is exemplary in this regard. Kristeva’s rendition of alterity ethics brings us close to the novel’s vision, and yet the novel points towards a more primordial basis for ethics in the search for meaning through the human encounter with other animal species. (shrink)
In reading Wittgenstein one can, and for the most part perhaps should, treat the expression ‘language-game’ as a term of art, a more or less arbitrarily chosen item of terminology meaning something like ‘an actual or possible way of using words’. It would then be a fairly routine task to work out answers to such questions as what features of the ways a word is used are emphasized by this term of art, what philosophical purposes are served by the description (...) of primitive language-games or of variations on actual language-games, or in exactly what way those purposes are supposed to be served. (shrink)
This paper has two objectives, neither previously attempted in the published literature—first, to outline J. M. Keynes's theory of knowledge in some detail, and, secondly, to justify the contention that his epistemology is a variety of rationalism, and not, as many have asserted, a form of empiricism. Keynes's attitude to empirical data is also analysed as well as his views on prediction and theory choice. 1This paper is partly based on ideas initially advanced in O'Donnell , a revised and expanded (...) version of which is to be published as O'Donnell . I should like to thank an anonymous referee for helpful comment, and King's College, Cambridge for permission to quote from the Keynes Papers. (shrink)
Disgrace , by J.M. Coetzee, is a story of a rape; more, it is a tale in which the victim of the rape, Lucy Lurie, is silent. She demands neither sympathy nor justice for what happens toher, presenting herself as neither a victim nor someone seeking revenge. Instead she stands as a witness, and does so by adopting an attitude reminiscent of the thinking of Simone Weil—rejecting the possibility of rights, and not looking for explanations. Rape, Coetzee thus suggests, is (...) an act without meaning, a trauma whose reality cannot be exorcised through narration. Fittingly, therefore, the novel ends with a tableau of Lucy growing flowers in her garden; living, like Candide, without rationalisation or consolatory myth. (shrink)
The author finds no support for the claim that J. M. Keynes had severe reservations, in general, as opposed to particular, concerning the application of mathematical, logical and statistical methods in economics. These misinterpretations rest on the omission of important source material as well as a severe misconstrual ofThe Treatise on Probability (1921).
Q. Sept. Florent. Tertulliani Opera ex recensione Aug. Reifferscheid et Georg Wissowa. Pars I. Vienna, Tempsky, 1890. Mk. 15.60. Patristische Studien I. II. III. IV. By Dr. Wilhelm von Hartel. Vienna, Tempsky, 1890. Mk. 5.80. Studia Ecclesiastica. Tertullianus. I. Critica et Interpretatoria scripsit DR. J. Van Der Vliet. Leyden, Brill, 1891. 2s. 6d. Gai Vetti Aquiliai Juvenci Evangeliorum Libri Quattuor. Ed. J. Huemer, Vienna, 1891. Mk. 7. 20. Ueber das Evangelienbuch des Juvencus in seinem Verhältniss zum Bibeltext. By K. Marold. (...) [Zeitschrift für wissenschaftliclie Theologie, 1890, pp. 329–341.] Geschichte der Christlich-lateinisehen Poesie. By M. Manitius. Stuttgart, 1891. 12 Mk. (shrink)
This lecture is divided, roughly, into three parts. First, there is a general and perhaps rather simple-minded discussion of what are the ‘facts’ that social anthropologists study; is there anything special about these ‘facts’ which makes them different from other kinds of facts? It will be useful to start with the common-sense distinction between two kinds or, better, aspects of social facts; first—though neither is analytically prior to the other—and putting it very crudely, ‘what people do’, the aspect of social (...) interaction, and second, ‘what—and how—people think’, the conceptual, classifying, cognitive component of human culture. Now in reality, of course , these two aspects are inextricably intertwined. But it is essential to distinguish them analytically, because each aspect gives rise to quite different kinds of problems of understanding for the social anthropologist. We shall see that the problem of how to be ‘objective’, and so to avoid ethnographic error, arises in both contexts, but in rather different forms in each. (shrink)
RESUMO: Com um estilo sóbrio e minimalista, a prosa literária de J. M. Coetzee é um espaço criativo onde diferentes identidades literárias são constantemente baralhadas e uma perigosa sobreposição de alter-egos é sistematicamente ensaiada. Pensando sobre todas essas nuances, filósofos contemporâneos a trabalhar sobre a obra do escritor sul-africano têm descrito o seu trabalho como "realista-modernista'. Neste artigo, discuto uma obra específica de Coetzee - focando sobretudo a estranha técnica gráfica da tripartição da página em três vozes literárias e a (...) respectiva relação com a ideia de "pensamento ético de substituição" -, confrontando-a com a sua obra como um todo. Num segundo momento, apresento um modelo filosófico para explicar o seu "realismo modernista" e termino traçando o impacto desse modelo filosófico sobre a própria filosofia que o apresenta. ABSTRACT: Dispassionate and sober, J. M. Coetzee's prose is a space in which literary identities are continually unsettled, methodological subtleties both revealed and explored. Given these features, philosophers have described Coetzee's style as "modernist realist". In this paper, I discuss the relevance of Coetzee's use of the split page in Diary of a Bad Year, focusing on its role in undermining "ersatz ethical thought". In the second part of the paper, I develop a model for explaining Coetzee's modernist realism. This model is situated within a broader, self-critical project that traces the significance of my analysis for the form of philosophical discourse. (shrink)
We often, in effect, take it for granted that some word or phrase is what is called ‘the name of a class, be that class empty or non-empty’. We do so whenever in effect we either wonder about, or mean to be taking a view on, the number of members a certain suppositious class has, on the ultrasimple number scale: ‘None, more than none’.