From Wodehouse to the White House: A Corpus-Assisted Study of Play, Fantasy and Dramatic Incongruity in Comic Writing and Laughter-Talk In this paper I consider two discourse types, one written and literary, the other spoken and semi-conversational, in an attempt to discover if there are any similarities in the ways in which humour is generated in such apparently diverse forms of communication. The first part of the paper is concerned with the explicitly comic prose of P. G. Wodehouse, whilst (...) in the second part of the paper, we investigate the laughter-talk, defined as the talk preceding and provoking, intentionally or otherwise, an episode of laughter, occurring during press briefings held at the White House during the Clinton era and the subsequent Bush administration. Both studies, by employing corpus analysis techniques together with detailed discourse reading, integrate quantitative and qualitative approaches to the respective data sets. (shrink)

_Talking Books_ sets out to show how some of the leading children's authors of the day respond to these and other similar questions. The authors featured are _ Neil Ardley, Ian Beck, Helen Cresswell, Gillian Cross, Terry Deary, Berlie Doherty, Alan Durant, Brian Moses, Philip Pullman, Celia Rees, Norman Silver, Jacqueline Wilson, and Benjamin Zephaniah_. They discuss with great enthusiasm: *their childhood reading habits *how they came to be published *how they write on a daily basis *how a particular book (...) came together *a type of writing that they are especially known for. Through in-depth interviews, they each reveal their approach to their craft. Much is know and spoken of the product that is the children's book, but it is rare that writers are given the opportunity to talk at length about the process of writing for children. _Talking Books_ redresses the balance by presenting a wide selection of authors reflecting upon the joys and challenges of the craft, creativity and process of writing for children. (shrink)

Few subjects have provoked more speculation or scholarly inquiry than the relationship between creativity and madness—or, in the case of Jason Thompson, the link between memoir writing and depression. Plato theorized that the poet’s madness is divinely inspired, and two thousand years later Sigmund Freud (1928/1961) admitted that “Before the problem of the creative artist analysis must, alas lay down its arms” (p. 177)—a cautionary injunction he then disregards. Should authors heed Thompson’s prudent advice not to write about present (...) traumas, or should they accept D. H. Lawrence’s (1981) statement that “One sheds one’s sicknesses in books, repeats and presents again one’s emotions, to be master of them” (p. .. (shrink)

Machine generated contents note: -- Part I -- 1. Portrait of the psychiatrist as a young man 1927-1960 -- 2. Portrait of the psychiatrist as an intellectual. Laing's early, notebooks, personal library, essays, papers, and talks -- 3. Laing and psychiatric theory -- 4. Laing and existential-phenomenology -- 5. Laing and Religion -- 6. Laing and the Arts -- Part II -- 7. Laing in the Army -- 8. Gartnavel Hospital and the 'Rumpus Room' -- 9. Individual patients at Gartnavel (...) -- 10. Laing at the Southern General Hospital -- 11. Laing in London -- 12. The Divided Self. (shrink)

This chapter contains sections titled: Something is Taking its Course What's Happening, What's Happening? Bare Interior Endgame References.

The article offers a conversation with the ghost of the madman ‘Jacotot/rancière’: one of the possible dialogues between the ignorant schoolmaster and my own perplexities in what I feel to be an endgame. Is there any point at the present time, in the declining mercantilist university, in pondering once again the issue of the place of philosophy in institutions responsible for training people who will work in the sphere of education? ‘We’ knew the old words, so the article goes, but (...) now we are no longer sure they mean anything. And we are not keen to learn the new ones: we do not trust them, they are irrelevant to us. Moreover, we are sad and tired. All we feel is rage and impotence. Will we be capable of trying all the words once again: university, philosophy, education? Will we be capable of trying all the verbs once again: reading, writing, conversing, perhaps thinking? (shrink)

Postmetaphysics in this book is interpreted as thinking through metaphysics at the closure of metaphysics by thinking the impossible possibility of metaphysics. In this site of the closure of metaphysics and the turn to language, the grammar of faith is discovered as the grammar of language or writing. The logic or grammatology of writing and thus of reality is revealed, not contra to philosophy or metaphysics, but when thinking through metaphysics to its end or closure, and there in (...) that site the grammar of faith is revealed as the grammar of texts and contexts and in such a site "God" is a good name to save and hence the possibility of postmetaphysical God-talk. The book concludes with three oblique offerings with regard to such postmetaphysical God-talk, namely a construction of an image, theopoetics and finally holy folly in response to the limitations and possibilities of postmetaphysical God-talk in the light of the conversation between Heidegger, Levinas and Derrida. (shrink)

This dissertation examines existential and ethical dimensions of writing and reading, especially with regard to what it means to historicize, that is think, tell, read and write about the past. A central aim of the dissertation is to show that reading and writing as cultural phenomena involve a transgenerational ethical relationship with absent people, which exceeds the immediate horizon of life of an individual. Growing up in a culture of literacy means gradually coming to understand a life that (...) spans over several generations, relationships with people in a past world who, in their absence, are constantly referred to and invoked in the continued life of posterity. In light of this, historiography appears above all as a way of maintaining a life over generations. In turn, this raises an ethical-existential question of responsibility for the ways in which any posterity talks about and relates to those who are no longer alive. The articles in this dissertation are case studies the purpose of which is to clarify what this responsibility toward the past involves in our culture of literacy. The methodological starting points of the dissertation are mainly to be found in existential moral philosophy, philosophical hermeneutics, and deconstructive phenomenology. The arguments of the articles take shape in dialogue with central thinkers of these philosophical traditions. The thoughts that are critically examined, however, are understood by many scholars to be unproblematic or legitimate, so that it is even more important to point out their possibly difficult ethical implications. Central themes examined in the articles of the dissertation are: the view that written language has a generally ethically unreliable character (Derrida, Ricoeur, Plato); the relationship between writing, burial and the performative culture of remembering (Jonas, Derrida, Ruin, Fritsch); aesthetic temptations in relation to testimonial stories and realistic prose (Lévinas, Levi, White, Žižek); and the problems for responsibility that can arise when an empathetic method or social psychology is used in historical research (Browning, Brison, Wyschogrod). Through an examination of these themes, the dissertation shows several immoral and existentially simplified aspects arising from ways in which posterity’s responsibility has often been understood to be constituted. These simplifications permeate our historical consciousness and are particularly evident in the methodology and theory of historical science, as well as in the philosophy and aesthetics of historiography. The positive argument of the dissertation therefore consists in clarifying how an ethical-existential relationship of responsibility to other people precedes literary mediation, narrativity, and the search for evidence, as these people are the ones that posterity talks about, lives on with, and continues to care about even in their absence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 11.1 (2004) 87-94 [Access article in PDF] Talk and the Nature of Delusions:Defending Sociocultural Perspectives on Mental Illness Eugenie Georgaca Keywords discourse, social constructionism, delusions, psychosis, mental illness, context It is very pleasing to see writers from philosophy, psychiatry and psychology, the three disciplines represented by this journal, debating the issue of delusions. The majority of the papers in this volume set out to determine (...) the underlying mechanisms responsible for delusions. As such, they offer themselves as discussions of the etiological factors of the formation and maintenance of delusions. My paper analyzes the interactional presentation and negotiation of statements that would be considered as delusional. This led some commentators (Ghaemi 2004; Sass 2004) to argue that the analysis of talk about delusions is useful, but cannot be extended to claims about the nature of delusions. In the following section, I discuss the ways in which analyzing interactions can be useful in clinical research and practice. Subsequently, I identify and critically discuss the assumptions about the nature of delusions that underlie these criticisms and the majority of the papers in this volume. The Usefulness of the Study of Interaction My paper can be seen as part of a growing body of studies that attempt to elucidate the role of interactional and discursive processes in the identification and management of disorders (Barrett 1988; Coulter 1975; Hak 1989; Pollner 1975; Smith 1978; Soyland 1994). Microsociological and ethnographic studies look at the properties of client-professional interaction with the aim of clarifying the tacit skills and knowledges used in such encounters. Palmer (2000), for example, argues that the recognition of disorder is a social and interactional issue both in the sense that the judgment of disorder is based on social criteria and in the sense that diagnosis is an interpersonal process with its own inherent social order. The aim, therefore, of analyzing professional-client interactions would be to articulate the properties of this implicit social order. Other researchers argue that diagnosis is not a process of identification or recognition of disorder, but rather a process of active construction of disorder and of transforming the person to a mental patient. Barrett's (1988) analysis of the transformation of a [End Page 87] person to a "person suffering from schizophrenia" and subsequently a "schizophrenic" through interviewing and report writing is an excellent example of this kind of work.The application of this approach to the field of delusions would attempt to address the issue of how delusions are diagnosed and managed through the interactions between the delusional patient and the clinician. In this paper and in previous work (Georgaca 1996, 2000) I showed that statements that have been diagnosed as delusional are presented and argued through using appropriate conversational strategies, drawing on socially meaningful systems of knowledge and applying appropriate rules of evidence. Moreover, I argued that there was no way in which these disagreements over competing versions of reality could be definitely settled conversationally, and that instances of breakdown in communication were due not to the delusional version being proven wrong, but to lack of explanatory frameworks within which the competing versions could be negotiated. At least in the exchanges analyzed, the criteria of implausibility, conviction, and incorrigibility were shown not to apply.Clinicians do not customarily investigate the truth of patient claims against empirical data (Maher 1992), which means that they have to judge claims on the basis of the patient's presentation in the diagnostic interview. Because there are no technical guidelines for the assessment of truth and falsity, plausibility and implausibility, rationality and irrationality, clinicians have to rely on personal judgment. The question then is on what grounds the clinician's personal judgment is granted the status of determining the truth of someone else's claim and in what capacity clinicians are called to make such decisions. I will not pursue this argument any further here. The point I want to make is that the analysis of professional-client interactions foregrounds the active role of professionals in clinical decisions and questions the criteria upon which decisions are... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 157-169 [Access article in PDF] Praxis and the PossibleThoughts on the Writings of Maxine Greene and Paulo Freire Randall Everett Allsup Columbia University Authors in a recent edition of the Philosophy of Music Education Review have assayed various understandings of praxis within the domain of music learning and teaching. 1 Leadened (perhaps) by history, this six-letter word sustains a multiplicity of meanings. (...) Philosophers as disparate as Aristotle, Marx and Engels, Sartre, Marshall Sahlins, Pierre Bourdieu, and David Elliott have represented praxis as a form of cultural-doing—but in many instances, this is where the similarities end. 2 By stirring up the pot, editor Estelle Jorgensen has sought to lighten history's burden, lest the word praxis suffer ossification, territorial over-use, or (worse) over-simplification.My first encounters with the word praxis were not particularly weighty or didactic. In graduate work with Maxine Greene, I would often hear praxis associated with the arts, with possibilities, openings, or alternatives. Greene does not construct a philosophical stance around the word; rather the conditions for praxis exist within the imagination, within "the capacity to look at things as if they could be otherwise." 3 Recalling Emily Dickinson, Greene writes that "imagination lights the possible's slow fuse." 4 Praxis, I think, is not simply the capacity to imagine alternative scenarios, but is instead the slow burning fuse of possibility and action. [End Page 157] This definition connects nicely with Paulo Freire, the revolutionary pedagogue who is of late often paired with Greene. 5 "Human activity," writes Freire, "consists of action and reflection: it is praxis." 6 The result is action upon our world.I must admit that as a long time fan of Freire (and as a student and friend of Greene), I have often wondered what exactly it means to act upon one's world, to name's one's world—especially as a music educator. Can such action lead to the creation of a love song? Can we say that certain art forms like the blues, be-bop, and jam band are more praxial than others? Might an encounter with Brahms lead to potentially transformative action upon my world?Freirian praxis, for sure, is non-neutral; it occurs when we disavow the traditional separation between abstracted learning and real life. After September 11, for example, my freshman music education majors created a requiem for the missing and the dead. This was the most difficult teaching I have ever facilitated. Before beginning our composition, we listened to several movements from the Faure Requiem, particularly the "In Paradisum": "May the choir of angels receive thee, and with Lazarus, once a beggar, mayst thou have eternal rest." We tried to attain Faure's sense of peace and hope; we admired his assurance that those who were gone were at rest, at peace. And we shared stories, and talked about our feelings and our pain. 7During this time, even the ordinary became infused with meaning. Banal pop music, like Enrique Inglesia's Hero, became a tribute song for many, including myself. Suddenly full of significance and relevance, I attended more closely to the simplicity of his chords and the sotto voce color of his voice: Would you die for the one you love? Hold me in your arms tonight. I wanna be your hero... The fact that this was an ordinary love song written some time before the terrorist attacks does not negate my feelings for it. Like Faure's requiem, it brought me a degree of comfort. In addition, I found solace in the music of Aaron Copland, particularly Quiet City. The open intervals seemed to speak of piece, quietude, and space. The opening trumpet recitative was defiant, but introspective—the English horn felt dark and mournful. I wanted to be back in an earlier New York, like the one that Copland knew and loved.Of course, acting upon our world requires inaction: thinking, perceiving, reflecting, reconceptualizing, connecting. For Freire and Greene, transformational or liberatory practice cannot... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 11.2 (2003) 157-169 [Access article in PDF] Praxis and the PossibleThoughts on the Writings of Maxine Greene and Paulo Freire Randall Everett Allsup Columbia University Authors in a recent edition of the Philosophy of Music Education Review have assayed various understandings of praxis within the domain of music learning and teaching. 1 Leadened (perhaps) by history, this six-letter word sustains a multiplicity of meanings. (...) Philosophers as disparate as Aristotle, Marx and Engels, Sartre, Marshall Sahlins, Pierre Bourdieu, and David Elliott have represented praxis as a form of cultural-doing—but in many instances, this is where the similarities end. 2 By stirring up the pot, editor Estelle Jorgensen has sought to lighten history's burden, lest the word praxis suffer ossification, territorial over-use, or (worse) over-simplification.My first encounters with the word praxis were not particularly weighty or didactic. In graduate work with Maxine Greene, I would often hear praxis associated with the arts, with possibilities, openings, or alternatives. Greene does not construct a philosophical stance around the word; rather the conditions for praxis exist within the imagination, within "the capacity to look at things as if they could be otherwise." 3 Recalling Emily Dickinson, Greene writes that "imagination lights the possible's slow fuse." 4 Praxis, I think, is not simply the capacity to imagine alternative scenarios, but is instead the slow burning fuse of possibility and action. [End Page 157] This definition connects nicely with Paulo Freire, the revolutionary pedagogue who is of late often paired with Greene. 5 "Human activity," writes Freire, "consists of action and reflection: it is praxis." 6 The result is action upon our world.I must admit that as a long time fan of Freire (and as a student and friend of Greene), I have often wondered what exactly it means to act upon one's world, to name's one's world—especially as a music educator. Can such action lead to the creation of a love song? Can we say that certain art forms like the blues, be-bop, and jam band are more praxial than others? Might an encounter with Brahms lead to potentially transformative action upon my world?Freirian praxis, for sure, is non-neutral; it occurs when we disavow the traditional separation between abstracted learning and real life. After September 11, for example, my freshman music education majors created a requiem for the missing and the dead. This was the most difficult teaching I have ever facilitated. Before beginning our composition, we listened to several movements from the Faure Requiem, particularly the "In Paradisum": "May the choir of angels receive thee, and with Lazarus, once a beggar, mayst thou have eternal rest." We tried to attain Faure's sense of peace and hope; we admired his assurance that those who were gone were at rest, at peace. And we shared stories, and talked about our feelings and our pain. 7During this time, even the ordinary became infused with meaning. Banal pop music, like Enrique Inglesia's Hero, became a tribute song for many, including myself. Suddenly full of significance and relevance, I attended more closely to the simplicity of his chords and the sotto voce color of his voice: Would you die for the one you love? Hold me in your arms tonight. I wanna be your hero... The fact that this was an ordinary love song written some time before the terrorist attacks does not negate my feelings for it. Like Faure's requiem, it brought me a degree of comfort. In addition, I found solace in the music of Aaron Copland, particularly Quiet City. The open intervals seemed to speak of piece, quietude, and space. The opening trumpet recitative was defiant, but introspective—the English horn felt dark and mournful. I wanted to be back in an earlier New York, like the one that Copland knew and loved.Of course, acting upon our world requires inaction: thinking, perceiving, reflecting, reconceptualizing, connecting. For Freire and Greene, transformational or liberatory practice cannot... (shrink)

It is often said that the advent of the Freudian talking cure around 1900 revolutionised the psychiatric setting by giving patients a voice. Less known is that for decades prior to the popularisation of this technique, several researchers had been experimenting with another, written practice aimed at probing the mind. This was particularly the case in France. Alongside neurologist Jean-Martin Charcot’s spectacular staging of hypnotised bodies, ‘automatic writing’ became widely used in fin-de-siècle clinics and laboratories, with French psychologists (...) regularly asking entranced patients to scribble down words to validate their nascent theories on the divided self. This article traces the emergence of automatic writing in French psychological discourse at the close of the 19th century. By focusing on the early work of Dr Pierre Janet and some of his contemporaries, it re-examines the role played by this practice in what Henri Ellenberger famously called ‘The Discovery of the Unconscious’. It also considers the various levels of reconstruction at play in recent historical accounts. What does it mean to give subjects a (written) voice? How does automatic writing differ from the Freudian talking cure as respective expressions of the unspeakable? And how might these questions inform future historical practice? (shrink)

The problem -- Fearless speech -- Talking versus writing -- The critical method -- Reasons and causes -- Elucidation -- Back to the rough ground -- The self and images -- A non-foundational therapy.

Previous studies have offered a rationale for engaging students in small-group student talk for the planning of L2 individual writing. To further investigate whether such talk effectively promotes the quality of argument in the context of Chinese tertiary EFL learners’ argumentative writing and whether such effects could be retained, the current study adopted a quasi-experimental design with a pretest, a posttest, and a delayed posttest in two intact EFL classes. The performance of the intervention group and the comparison (...) group were scrutinized to examine the effects of the intervention. The analytic scores on six components of the writing task and the holistic writing scores cumulated of all these components were measured to see the immediate and sustained effects. Significant changes of the holistic scores in both the immediate posttest and the delayed posttest indicated that such small-group student talk enabled students in the treatment class to achieve better performance in the overall quality of argumentation compared with those in the comparison class. Statistical analyses revealed immediate and sustained effects of small-group student talk on the quality of counterargument claim, counterargument data, and rebuttal claim. Counterargument claim was the only element in which students in both classes made significant improvement, but the treatment class demonstrated a larger effect size. No discernible differences were found either between or within the treatment class and the comparison class with respect to the quality of claim, data, and rebuttal data across tests. Possible explanations concerning the findings and limitations of the study were discussed. (shrink)

Proceeding on the assumption that confusion in Renaissance criticism arises from the way we talk and the vocabularies we use, Stewart investigates typical assertions in recent criticism of Spenser, Shakespeare, Donne, and Herbert, using a Wittgensteinian method of investigation. This involves taking a thing, usually a statement, apart. If a statement, under such scrutiny, seems to make no sense, or to lead critics into blind alleys, then we must try to clarify the expression. As Stewart asserts, if we are to (...) go on together in critical conversation, then we must find a way to sort out the confusion that arises from our language. While Wittgenstein's thought has long been utilized by literary critics, this study represents the first sustained application of ordinary language philosophy to the vocabulary and assumptions of current criticism. This study is an original and important book⎯one likely to be of great interest to philosophers as well as literary theorists. While Renaissance Talk is primarily concerned with Renaissance and early modern studies, its patient but relentless exposure of what sometimes passes for scholarly criticism, along with its exemplary corrective explication of misinterpreted passages from the writings of major authors, makes it useful reading for a wide range of Literary Studies students and scholars. (shrink)

The terms neoliberalism and neoliberal play a variety of roles ranging from major to trivial in the papers they appear in. Both phrases carry pejorative connotations in nurse writing. Yet irrespective of the role assumed in argument, readers are rarely provided with enough information to determine what the descriptors mean in a substantive or concrete sense. It is proposed that scholars who use these terms in their work should consider expressing themselves more carefully than often occurs at present. Virtue (...) signalling in academic writing should, absent critical argument, be discouraged. (shrink)

In examining Hegel's and Kierkegaard's theories of language, I argue that both entail conceptions of the therapeutic power of language to heal us from madness and despair. I show that whereas Hegel quite straightforwardly celebrates the emancipatory power of language, Kierkegaard is more ambivalent; on the one hand, he devotes his life to a maieutic authorship in service of aiding the reader, but on the other, he believes that ultimately it is only faith in God that can cure us, and (...) that faith requires silence. I use Lacan's psychoanalytic account of the role of language to explore Hegel's view that language constitutes the self and Kierkegaard's experimentation with an indirect form of communication that he hopes will enable him to fulfill each of his apparently conflicting goals, to write and yet to remain silent. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Truth in WritingAmandaAn excerpt from my journal during a dark period in my life reads:I am a survivor of sexual mutilation, of coerced gender roles, and of perpetual lies all in the name of normalization. Sometimes I have a hard time even thinking about the true extent of what all happened. It’s like my mind doesn’t have that type of scope, like when I think about the word (...) “eternity.”I wrote this after combing through old medical records, reading comments like “her introitus has healed nicely and looks normal, but my exam suggests that her vagina is shortened,” and “reduction clitoroplasty... removal of testes.” The records go on to say that my “external genitalia is quite satisfactory,” and “on perineal exam, her neovaginal orifice is quite compliant and easily accepts my second and third digits.”My journal continues:I chose this fake hole when I was a teenager because I didn’t know there was another option. I was told from day one to be a female, to be heteronormative, to act like all the other girls, and the only way I could fully accomplish this is by looking the part. A fake hole would be necessary, I thought, to go along with the rest of the lies. Sometimes I think about how the doctors told me to lie about my surgeries and my scars. Sometimes I wonder what my parents would have told the world if I had died during one of surgeries. Maybe they would have said “we were just trying to make her fuckable.”My strength is growing from the stories and experiences I write and share. My journal started about four years ago, when I was in my early 20s, near the beginning of medical school. My initial purpose in writing the journal was to help sort through my feelings and experiences related to a newly discovered sexuality and a changing gender identity. Medical school was thousands of miles away from my previous life, my family, and my friends. Away from my old social network, I was free to self–discover on my own terms. In the first journal entry, I lay out reasons why I decided to get in contact with a therapist, something I had not done previously. Some of the reasons were fairly standard reasons one seeks out a therapist, such as moving away from home. But the fundamental reasons I sought out a therapist, and why I chose to journal, had to do with exploring feelings after my first sexual encounter with a woman, and then [End Page 98] accepting my intersexuality. My relationship with that therapist did not last, but the journaling did.In the beginning of the journal, I write:I am from a small, religious, white, non–diverse, family oriented suburb of Milwaukee. I was raised to be the picture–perfect daughter in a household that did not talk about feelings, sex, cultural or religious differences, etc. My brother and I also never talked about personal issues (and still don’t), which is quite remarkable since we are twins, and have grown up doing most everything together, from sharing birthday parties, to being locker buddies... [When my mother told me about having Androgen Insensitivity Syndrome (AIS)] knowing this little fact about my body kept me wanting to become as perfectly female in all ways possible.Growing up without being able to talk about having AIS was stifling to say the least. Closing communication implied great shame, and with the shame came even greater repression. My skate-boarding, baseball card collecting, and model car building interests disappeared after learning about my AIS, which I believe was when I was 12 years old, but I cannot remember exactly. Granted, it’s tough to say whether my interests just changed as I grew older, but I do remember having a fear of portraying any masculine tendencies that other girls in my town weren’t displaying (for example, playing soccer was okay, but I had to shave my legs). I also had crafted some pretty good covers for my AIS, including stories about when I first had my (fake) period, or how I acted fearful about a... (shrink)

The article charts my trajectories as a feminist activist/academic seeking to research, write and talk about gender-based violence in relation to the Middle East. More specifically, I am drawing on research and activism in relation to Iraq, Turkey and Lebanon to map the discursive, political and empirical challenges and complexities linked to scholarship and activism that is grounded in both feminist and anti-racist/anti-islamophobic politics. While reflecting on my positionality, the article aims to challenge the binary of activism and academia as (...) well as Western and Middle Eastern contexts in terms of knowledge production. (shrink)

The editors assembled this book in order to highlight the voices of those who do have an idea—of people who have experienced or witnessed the impact of educational injustice on the lives of marginalized youth and the educators who advocate for them. They set out to collect writing about people’s experiences--their reflections on social justice and injustice, equity and inequity in and out of schools that influence educational access and opportunity. By sharing stories in poetry and prose and photography, (...) telling truths either as people on the margins or as their partners in struggles for educational justice, it is the editors intentions to expand the narrative of the educational policy and practice. (shrink)

Frank Mitjans is an architect who has worked in London since 1976. He was introduced to the significance of the figure of St. Thomas More by Andrés Vázquez de Prada, author of the biography, Sir Tomás Moro, Lord Canciller de Inglaterra. In 1977 Vázquez de Prada invited Mitjans to visit with him the Thomas More Exhibition at the National Portrait Gallery, which stimulated his interest in representations of More, his family and his friends. Since August 2002 he has given many (...) presentations and talks on the topography of More’s London to groups of students and other interested people in Britain, Ireland, and Sweden. Frank Mitjans, architecte qui travaille à Londres depuis 1976, fut initié au personnage de Saint Thomas More par Andrés Vázquez de Prada, auteur de la biographie Sir Tomás Moro, Lord Canciller de Inglaterra. En 1977 Vázquez de Prada l’invita à l’accompagner dans sa visite de l’exposition Thomas More à la National Portrait Gallery, évènement qui aiguisa son intérêt pour les représentations de More, de sa famille et de ses amis. Depuis août 2002 il a régulièrement fait des présentations et des exposés à des groupes d’étudiants et d’autres en Grande-Bretagne, Irlande et Suède au sujet de la topographie du Londres de Thomas More. The recent exhibitions of the works of Holbein in London and Basel, and scholarly publications such as Holbein and England, have rekindled interest in the Portrait of Thomas More and his Family, and in the late sixteenth-century versions of Holbein’s presumed lost original. The present paper analyses the differences between the sixteenth-century versions and Holbein’s 1527 composition sketch, and concludes that the sketch is a more reliable witness to Holbein’s lost painting than the later versions, as well as the only authentic witness to More’s intentions; though anything we learn from the drawing must be checked against what we know from More’s letters and writings and other biographical data. From the later versions, however, and in particular from the references to Seneca on them, we can learn about those who commissioned them and England’s peculiar historical circumstances. (shrink)

Pragmatism -- From The meaning of truth -- From Psychology, briefer course -- From The will to believe and other essays in popular philosophy -- From Talks to teachers on psychology, and to students on some of life's ideals -- Address at the centenary of Ralph Waldo Emerson -- A world of pure experience -- Is radical empiricism solipsistic?

In lieu of an abstract, here is a brief excerpt of the content:Talking Cures, the Clinic, and the Value of the IneffableDaniel Berthold (bio)KeywordsMadness, disease, the normal, the abnormal, the ineffable, Hegel, Kierkegaard, LacanI am most grateful to my readers, James Phillips and Louis Sass, who have led me to several new insights by suggesting ways of complicating my reading of a Lacanian approach to Hegel's and Kierkegaard's conceptions of madness. I am a Kierkegaard and Hegel scholar, with very (...) little pretense to expertise about Lacan and regrettably even less about the theory and practice of psychiatry. In submitting my essay to Philosophy, Psychiatry, & Philosophy, I was hoping to entice a community of practitioners and theoreticians I have great respect for to consider the musings of a philosopher on topics which engage them as thinkers and actors in their professions. I could not possibly have hoped for more intelligent and provocative replies than I have been given by my two respondents.Phillips' framing of his response in terms of the distinction between the "madness of the philosophers" and the "madness of the clinic" is very helpful. It is a distinction that is indeed central to the question of the possibility of dialogue between philosophers and clinicians—so central, in fact, that it is generous of Phillips not to reproach me for failing to mention it. On the one hand, the challenge for philosophers is to show that their descriptions are not merely metaphoric and that their preoccupation with the dark side of human experience connects in some way with the reality of disease, so that there is some way for clinicians to translate their language into the language of psychiatry. Otherwise, philosophers will have only poetic or literary interest for the psychiatrist or psychologist.On the other hand, the challenge for clinicians is the extent to which they are open to moving beyond a reduction of "mental illness" to a purely biological conception of disease. One needn't go so far—nor should we—as Thomas Szasz or Michel Foucault in seeing "mental disease" as itself merely a metaphor. But granting the evidence of underlying organic disorder, symptoms nevertheless display themselves as mental and behavioral states (what Hegel calls "shapes of consciousness") that, as Hegel argued, are paralleled in "normal" experience, so that the distinction between disease and normality (and hence illness and metaphor) is often elusive. Madness "has the healthy consciousness for its presupposition," Hegel writes, because the healthy mind is still grappling with the same sorts of contradictions and feelings of alienation, the same "infinite pain" which characterizes insanity. Madness is not the absolute "other" of rationality, but an echo of it (1978, 3:382, 408).Hegel himself accepted the medicalization of madness that began to occur in the late eighteenth [End Page 325] century, and rejected the metaphysical and theological categories of what was called "romantic medicine." But he also cautioned against the narrowness of the "somatic" school which he felt lacked sufficient explanatory value if not connected to a "speculative" (i.e., philosophic) framework (see Berthold-Bond 1995, ch. 2).It might even be argued that every person seeking therapy is first of all suffering from "philosophic" madness, at least in the sense that initially she does not understand her own suffering as "disease," but experiences her torment in the vocabulary of the philosopher. Thus the philosopher's descriptions are the closest to the subject's own self-understanding, and while the therapist must seek to rephrase these descriptions into the vocabulary of the clinic (just as Hegel, for example, translated his own philosophic description of the madness of his friend Hölderlin in the Phenomenology as the "lost soul" whose "light dies away within it" into the medical category of Wahnsinn—mania or frenzy, which today we would call schizophrenia—in the classificatory scheme of mental disorder he gives in the Encyclopaedia; 1977, 400; 1978, 408)—there is a real question about which vocabulary is a metaphor for the other.The second main point Phillips addresses, which is taken up in different ways by Sass as well, has to do with the relation between speech and silence in madness. Phillips finds that Kierkegaard offers a more complex and subtle view than... (shrink)

Artworks are seen here as presenting themselves as a means by which to navigate and plot the city for a writing interlocutor; The examples discussed reveat a plethora of emergent forms which are concentrated into three key modalities of urban arts practice in the twenty-first century walking play and cultural memory walking includes the talked walks of artist such as Richard Wentworth, the generative street incursions of Francis Alys, and the walking spectator at a site-based event, including works by (...) Gustv Metzger, Mark Wallinger and Pavel Althamer. Play embraces popular instances of mass public mobilisation in the form of flash mobs and mobile clubbing as well as ̀creative interventions such as free ranning, graffin writing and video sniffing, which reveal themselves to be engaged increasingly in a dialogue with the ̀high art' of artists like Antony Gomely, Mark Quinn and Carsten Holler. Cultural memory is considered via the burgeoning cases of holocaust installations, interrogating two of the best-known- and controversial-European urban sites from the point of view of the physical encounters that they implicity invite Peter Eisenman's memorial in Bertin and Rachel Whitereads' in Vienna. --Book Jacket. (shrink)

This dissertation argues that, since authority is inevitable and indispensable in effective teaching, we need more theory and research on how teachers can use authority more constructively in teaching rather than their trying to avoid using authority or simply ignoring its existence in the classroom. Since the teacher's discourse is the key to the traditional teacher's authority in the classroom, changing the teacher's discourse therefore becomes the key issue in talking about teachers' authority. ;In the larger social context, radical (...) educationists' criticism of the dominant discourse is progressive and revolutionary. However, I disagree with radical educationists that replacing the teaching of alternative discourses with the teaching of other discourses is a means of changing the traditional classroom and the traditional teacher's authority. First, teaching is always "symbolic imposition" , and a change of content does not completely change the basic institutional function of teaching and therefore does not change the traditional teacher's authority, for, as J. Hillis Miller points out, form and style can be equally oppressive as content. Second, since alternative discourses such as deconstruction, feminism, multiculturalism, and radical theories are all responses to the dominant discourse and are therefore parasitic upon it, avoiding teaching the dominant discourse not only leaves an irretrievable gap in students' education but also impedes students' development of critical literacy and thus disempowers them. ;Informed by Richard Rorty's edifying philosophy and his notions of normal and abnormal discourse, I argue that the teaching of first-year college writing can be conceived as a process of helping students move from their Abnormal Discourse I to Abnormal Discourse II by way of normal discourse . I propose that teachers play an edifying role in the writing class through a two-level interaction among the three discourses so as to turn the teacher's authority into enabling constraints that will enhance students' development of critical literacy. (shrink)

Self-distancing has been proposed as an emotion regulation strategy to reduce the duration and intensity of emotions. This meta-analysis synthesised 48 studies and 102 effect sizes examining the effects of self-distancing on emotion regulation. The results showed an overall significant, small effect of self-distancing in attenuating emotional responses (Hedges’ g = −0.26, 95%CI: [−0.36, −0.15]). Moderator analyses highlighted the efficacy of one intervention feature: approach. Stronger effect was associated with the visual and verbal approach to process emotional events, in comparison (...) to the visual only approach and the pronouns approach. The effectiveness of self-distancing was consistent across other intervention features (context, stimuli, time, emotional outcome) and individual characteristics (emotional vulnerability, age, culture). These findings suggest that self-distancing is effective in emotion regulation when people externalise and articulate thoughts through writing and talking. Practical implications were discussed in relation to the design of interventions to enhance emotional well-being. (shrink)

The voices and visions experienced by Emanuel Swedenborg remain a topic of much debate. The present article offers a reconsideration of these experiences in relation to changes in psychiatric practice. First, the phenomenology of Swedenborg's experiences is reviewed through an examination of his writings. The varying conceptualizations of these experiences by Swedenborg and his contemporaries, and by psychiatrists of later generations, are examined. We show how attempts by 19th- and 20th-century psychiatrists to explain Swedenborg's condition as the result of either (...) schizophrenia or epilepsy are unable to account for his experiences. We then demonstrate that the re-emergence of the 19th-century concept of `hallucinations in the sane' offers an alternative way to understand Swedenborg's experiences outside typical discourses of mental illness. Finally we argue that Swedenborg's experiences should be understood as exemplifying phenomena which we term `hallucinations without mental disorder', and investigate how conceiving of Swedenborg in this way can inform future research into the experience and clinical significance of hallucinations. (shrink)

The indigenous people of sub-Saharan Africa approach their Supreme Being and express their reverence in diverse ways, as depicted in the different local names that describe this supernatural being. The African cultural worldview foregrounds that virtuous rapport with the Supreme Being provides wisdom and facilitates good cohabitation among humans. It is argued in this article that teachings from the Christian Bible contribute negatively to the disintegration, fragmentation and death of indigenous knowledge systems, which include African cultural values, memory and oral (...) traditions. Recently, some African scholars have begun to create awareness of some of Africa’s lost treasures. However, such contributions are disappointingly few. This study argues that memory and orality among Africans should be promoted and supported through various platforms, such as academic writing. This article will discuss memory, orality and ‘God-talk’ in terms of the following: teachings on moral values (e.g. relationships, marriage, humaneness [ubuntu or hunhu]) and the preservation of cultural heritage. The discussion uses qualitative analysis of secondary data and personal observation.Contribution: Firstly, the present study will provide for the readership in general, and academia in particular, a new perspective on African customs and indigenous belief systems about a Supreme Being. For example, Musiki as a Shona local dialect name for ‘God’ was already in use before the emergence of Christianity in Southern Africa. Secondly, previous contributions have not sufficiently explored memory and orality. This investigation serves as a resource or starting point for further research on memory and orality. (shrink)

Over the course of the nineteenth century mathematicians became vividly aware that great advances in intuitive “understanding” could be obtained if novel definitions were devised for old notions such as “conic section”, for one thereby often gained a deeper appreciation for why old theorems in the subject had to be true. From a naïve philosophical standpoint, such definitional alterations look as if they must properly displace the “propositional contents” of the very theorems they seek to illuminate. Haven’t our reformers merely (...) “changed the subject”, rather than truly provided. The conceptual enlightenment they claim? Many practitioners of the time claimed that “Science” enjoys a special prerogative to ignore “surface content” in its search for truth, a sentiment with which Frege often concurs, at least in his early writings. Yet it is hard to render these opinions consistent with his official views on sense andreference, as this essay details. It also surveys Russell’s views on such topics, although he was generally less aware than Frege of the revolutionary mathematical work pursued within the “search for fruitful definitions” program. (shrink)

This essay takes a hard look at the current state of much academic (mainly analytic) philosophy and sets out to diagnose where things have gone wrong. It offers a sharply critical assessment of the prevailing narrowness, cliquishness, linguistic inertness, like-mindedness, intellectual caution, misplaced scientism, over-specialisation, guild mentality, lack of creative or inventive flair, and above all the self-perpetuating structures of privilege and patronage that have worked to produce this depressing situation. On the constructive side I suggest how a belated encounter (...) with developments beyond its cultural-professional horizons continental might bring large (and reciprocal) benefits. I also offer some tentative ideas as to what could or should mean as applied to philosophical thinking and writing. (shrink)

The principle that emergent writing is supported by talk, and that an appropriate pedagogy for writing should include planned opportunities for talk is well researched and well understood. However, the process by which talk becomes text is less clear. The term 'oral rehearsal' is now commonplace in English classrooms and curriculum policy documents, yet as a concept it is not well theorised. Indeed, there is relatively little reference to the concept of oral rehearsal in the international literature, and (...) what references do exist propose differing interpretations of the concept. At its most liberal, the term is used loosely as a synonym for talk; more precise definitions frame oral rehearsal, for example, as a strategy for reducing cognitive load during writing; for post-hoc reviewing of text; for helping writers to 'hear' their own writing; or for practising sentences aloud as a preliminary to writing them down. Drawing on a systematic review of the literature and video data from an empirical study, the paper will offer a theoretical conceptualisation of oral rehearsal, drawing on existing understanding of writing processes and will illustrate the ways in which young writers use oral rehearsal before and during writing. (shrink)

What mysteries lie at the heart of fiction's power to enchant and engage the mind? Empty Revelations considers a number of philosophical problems that fiction raises, including the primary issue of how we can think and talk about things that do not exist. Peter Alward covers thought-provoking terrain, exploring fictional truth, the experience of being "caught up" in a story, and the boundaries between fiction and non-fiction. At the centre of Alward's argument is a figure known as the "narrative informant" (...) who mediates the reader's encounter with fictional events through - sometimes unreliable - reporting. Developing a theory in which the author is a sculptor who constructs works of fiction out of words, Alward demonstrates that much of the confusion about fiction stems from a failure to properly distinguish between writing fiction and telling stories. Combining clarity, philosophical sophistication, ingenuity, and originality, Empty Revelations is a rewarding read for both scholars of philosophy and anyone interested in the complex ways that fiction works. (shrink)

Throughout an illustrious career of teaching and writing that spans five decades, philosopher Needleman has always tackled the "big questions" of life. In this collection of six feature interviews that began in the 1980s, Miller and Needleman discuss "Making Sense of Mysticism, The Secrets of Time and Love, The Meanings of Money, Searching for the Soul of America, Meeting God without Religion, " and "The Need for Philosophy.".

In the Phaedrus, the expression τὰ γεγραμμένα φαῦλα ἀποδεῖξαι, „to demonstrate the inadequacy of its own written” could mean „to make a palinody.” The requirements to define someone as a philosopher that Socrates provides describe in theoretical and normative form what the dialogue has already represented in its dramatic form. Plato has targeted the speech of Lysias and the first speech of Socrates as belonging to a literary genre that is still in statu nascendi: a sophistic conference in which the (...) writing is supposed to be read aloud and there is established a particularl emotional relationship between the reader and listener with the subordination of the latter to the former. For Socrates this relationship should be different and the speeches as well as books should have a completely different intent, content and form: philosopher must offer to the one whom he loves a chaste and virtuous conduct: such conduct, in its imitation of the divine, is precisely what distinguishes him from other scholars: τιμιώτερα. The philosophical relationship must involve a different kind of reading: a silent one that can neutralize the deleterious and seductive effects of the voice. This does not imply, however, that all books are the same. Philosophical writing is not a palindrome on a statue, like a picture. Its qualifying element is the linear and irreversibile sequence. Time flows between one segment and the next. Thus, thoughts presented in writing move in space, whereas characters that have thoughts in them also move over time, changing and modifying themselves. That is precisely how philosophical writing, such as the platonic dialogue, can reproduce logos. (shrink)

This article questions the reading of Vivekananda. By drawing several fine lines of separations between a text and an utterance, we argue that Vivekananda spoke. Such separations have been drawn on three major aspects of locating a text as consciousness, as intention or as transmitted. Indeed, Vivekananda spoke as performance, and as knowledge has intimate relation with performance, this article draws major conclusions relating to science as from speaking. Much of science could be otherwise considered as myth and apprehending Vivekananda (...) as speaker would demythify knowledge and science. Vivekananda as we understood situated a dialogue in and about knowledge and about its epistemic. Such an analysis did not require an ‘other’ to be there. This suggests that India embraced knowledge as its weapon. Vivekananda rejected the putatively ‘spiritual’. Science and technology, insofar as this was mythic, did not appear to him attractive beyond what was called for by the necessity of pragmatism. Vivekananda talked about a state and about nationalism as a stepping stone only. He spoke on personal knowledge and freedom from ignorance and from poverty. (shrink)

In this article we study how members of an interdisciplinary research team use an online forum for communicating about their research project. We use the concepts of "community of practice" and "connectivity" to consider the online interaction within a wider question of how people from different academic traditions "do" interdisciplinarity. The online forum for this Grey and Pleasant Land project did not take off as hoped, even after a series of interventions and amendments, and we consider what the barriers were (...) and how they might be overcome. Barriers to involvement included participants' expectations of interaction and collaboration--expectation that real interaction happens elsewhere, tensions between academic discourse and forum talk norms, unfamiliarity with the technology, and different conceptions of appropriate academic discussion. We suggest that common academic practice does not prepare us well for creating interdisciplinary research communities through online collaboration tools, whereas such tools are our best bet currently for including geographically dispersed members in collaborative projects. Therefore, careful planning and competence building would be necessary if such tools are to be used in collaborative research. Suggested interventions, based on our experience, include providing a more focused forum, making technical support easily available, and setting up particular tasks or items to debate, within a preset, synchronous timeframe, focusing on issues relevant to the project at that time. (shrink)

In his Complaint of Peace, the great sixteenth-century humanist Erasmus allows "Peace" to talk. Peace speaks as a plaintiff, protesting her shabby treatment at the hands of humankind and our ever-ready inclination to launch wars. Against this lure of warfare, Erasmus pits the higher task of peace-building, which can only succeed through the cultivation of justice and respect for all human life. First articulated in 1517, the complaint of peace has echoed through subsequent centuries and down to our age--an age (...) convulsed by world wars, holocausts, and ethnic cleansings. Distinguished political scientist Fred Dallmayr traces this complaint from the writings of Erasmus through the evolution of the "law of nations" to recent and contemporary co-plaintiffs in the West. He also highlights the role of non-Western thinkers and teachings in giving voice to "Peace." In addition to Erasmus, Dallmayr engages major thinkers such as Francisco de Vitoria, Hugo Grotius, Immanuel Kant, Hannah Arendt, Martin Heidegger, Mahatma Ghandi, the Dalai Lama, John Rawls, and Martha Nussbaum. This timely book urgently pleads for greater attentiveness to peace's complaint as an antidote to the prevailing culture of violence and the escalating danger of nuclear catastrophe. Dallmayr offers not only a compelling historical narrative, but powerful ethical and religious arguments vindicating the primacy of peace over violence and war. (shrink)

CONCLUSION :Whoever wants to pursue just social reforms, breathe new life into political democracy, and improve the welfare of the weak will have to do more than convince people to speak differently about themselves. The first ailment that must be cured is not an improper use of language, but the anxiety that gives rise to that language.Anxiety cannot be removed by socially uninspired philosophies. Anxiety is not a problem of individuals but of society’s consciousness. The individualistic attitude of the dominant (...) group of Anglo-Saxon thinkers has hitherto hindered any consideration of group mentality. There is too little known about the processes at work in this trans-individual domain.If people felt that they were being respected concerning their meaning, then they would probably be easier to reconcile with their finitude and the finitude of those around them. They would be more willing to think about the welfare of the community. Respect, however, is not manipulable like an object that one can give and take. Respect only exists in a context of participation. Improving the quality of that context implies not only that people pay more attention to an honest use of language, but also to craftsmanship, art and culture. If there is anything that allows people to go on in spite of anxiety, it is their participation in the community that gives them courage, whose patterns of expectation give everyone a feeling of self-respect and whose internal solidarity curbs the economic sufferings of backward social groups.I had the impression while writing this that Bellah would agree with many points. Although some of his texts argue that social change will only be achieved through a return to biblical and republican narratives, others seem to indicate that he has a better sense than most Americans of how strong the pre-reflexive influence of the social temperament can be. (shrink)

Making history - in the sense of writing it - is often set against talking about it, with most historians considering writing history to be better than talking about it. My aim in this article is to analyze the topic of making history versus talking about history in order to understand most historians' evident decision to ignore talking about history. Ultimately my goal is to determine whether it is possible to talk about history with (...) any sense.To this end, I will establish a typology of the different forms of talking practiced by historians, using a chronological approach, from the Greek and Roman emphasis on the visual witness to present-day narrativism and textual analysis. Having recognized the peculiar textual character of the historiographical work, I will then discuss whether one can speak of a method for analyzing historiographical works. After considering two possible approaches - the philosophy of science and literary criticism - I offer my own proposal. This involves breaking the dichotomy between making and talking about history, adopting a fuzzy method that overcomes the isolation of self-named scientific communities, and that destroys the barriers among disciplines that work with the same texts but often from mutually excluding perspectives. Talking about history is only possible if one knows about history and about its sources and methods, but also about the foundations of the other social sciences and about the continuing importance of traditional philosophical problems of Western thought in the fields of history and the human sciences. (shrink)

What aspects of philosophical style really count? What aspects of philosophical writing count only as matters of style? Some features of philosophical writing and talking do seem to be of merely ornamental significance, worthy subjects only of gossip or banter. We are familiar with the academic sneer with which poor Professor Kluck is charged with having “somehow managed to confuse” one thing with another. A more serious stylistic matter, of course, would be Professor Kluck’s own willingness to (...) use the apparatus of modal logic in his pathetic endeavors. Or is that a matter of style? If so, does the same concept apply to such amusing and affective phenomena as accent and cadence? We have heard Professor Chisholm’s rising terminal voice inflection, if only because it is so widely imitated. One thinks of Professor Earle’s favorite condemnation “boring” pronounced with an “o” which seems to touch base on every vowel sound known to man. We are impressed by Goodman’s pithiness, and we register his penchant for alliterative triples. We compare Bergmann’s Laocöonian baroque prose with Quine’s soothing urbanity. It is an interesting fact that these are the features which come to mind when we begin to consider the whole question of philosophical style. Have we so internalized the parts that really count that they seem “white,” neutral, style-free? There might well be historical factors which encourage such blindness. Varying degrees of lingering transcendentalism about philosophical method would not be easily reconciled with the awful idea that one is merely speaking a local dialect. Of course the transcendentalism itself is rarely owned up to as such, as if it is assumed that it is Reason which speaks but that it is in poor taste to say so. Alternative methods, when confronted, generate distaste, horror, or the head-shaking sort of wonderment of the Eighteenth Century Parisian who wondered how on earth anyone could be a Persian. (shrink)

Talking Politics is a philosophical examination of some of the basic concepts of political discourse. Its primary focus is on the ordinary ; on what is said by politicians, in newspapers and by people in pubs, rather than on the works of political theorists. This is a work of , but not on political theory. Talking Politics is: * Invaluable as a source of reference for students, and contains a detailed index * Arranged thematically, around topics such as (...) `Nation'. Each entry has copious cross-references and suggestions for further reading A. W. Sparkes is uniquely qualified to write such a book, combining some thirty years' teaching as a philosopher with wide experience of, and a life-long fascination with, politics. His attitude is that of a critical, but uncynical, observer. (shrink)

_Talking Politics_ is a philosophical examination of some of the basic concepts of political discourse. Its primary focus is on the _ordinary_; on what is said by politicians, in newspapers and by people in pubs, rather than on the works of political theorists. This is a work _of_, but not _on_ political theory. _Talking Politics_ is: * Invaluable as a source of reference for students, and contains a detailed index * Arranged thematically, around topics such as `Nation'. Each entry has (...) copious cross-references and suggestions for further reading A. W. Sparkes is uniquely qualified to write such a book, combining some thirty years' teaching as a philosopher with wide experience of, and a life-long fascination with, politics. His attitude is that of a critical, but uncynical, observer. (shrink)