Tool use research has suffered from a lack of consistent theoretical frameworks. There is a plethora of tool use definitions and the most widespread ones are so inclusive that the behaviors that fall under them arguably do not have much in common. The situation is aggravated by the prevalence of anecdotes, which have played an undue role in the literature. In order to provide a more rigorous foundation for research and to advance our understanding of the interrelation between tool use (...) and cognition, we suggest the adoption of Fragaszy and Mangalam's (2018) tooling framework, which is characterized by the creation of a body-plus-object system that manages a mechanical interface between tool and surface. Tooling is limited to a narrower suite of behaviors than tool use, which might facilitate its neurocognitive investigation. Indeed, evidence in the literature indicates that tooling has distinct neurocognitive underpinnings not shared by other activities typically classified as tool use, at least in primates. In order to understand the extent of tooling incidences in previous research, we systematically surveyed the comprehensive tool use catalog by Shumaker et al. (2011). We identified 201 tool use submodes, of which only 81 could be classified as tooling, and the majority of the tool use examples across species were poorly supported by evidence. Furthermore, tooling appears to be phylogenetically less widespread than tool use, with the greatest variability found in the primate order. However, in order to confirm these findings and to understand the evolution and neurocognitive mechanisms of tooling, more systematic research will be required in the future, particularly with currently underrepresented taxa. (shrink)

Despite countless anecdotes and the historical significance of insight as a problem solving mechanism, its nature has long remained elusive. The conscious experience of insight is notoriously difficult to trace in non-verbal animals. Although studying insight has presented a significant challenge even to neurobiology and psychology, human neuroimaging studies have cleared the theoretical landscape, as they have begun to reveal the underlying mechanisms. The study of insight in non-human animals has, in contrast, remained limited to innovative adjustments to experimental designs (...) within the classical approach of judging cognitive processes in animals, based on task performance. This leaves no apparent possibility of ending debates from different interpretations emerging from conflicting schools of thought. We believe that comparative cognition has thus much to gain by embracing advances from neuroscience and human cognitive psychology. We will review literature on insight and discuss the consequences of these findings to comparative cognition. (shrink)

Our attitude to official apologies is paradoxical. Despite widespread critique of most apologies issued by heads of state, government, and NGOs, public demand for such apologies continues to arise with predictable regularity—we demand even as we condemn.I argue that the role of apologies in securing public trust in a democratic context can explain this paradoxical attitude. By contrasting private and public apologies, I demonstrate that the latter have emerged as a performative (rather than legal or structural)model for accountability, and thus (...) for reinspired public trust. I conclude by demonstrating significant democratic risks to this practice. (shrink)

The focus of this article is two texts, ‘Advancing Luna – and Ida B. Wells’ by Alice Walker and Disgrace by J.M. Coetzee, both of which present ethical problems for the reader. The texts share a common event, an incident of black-on-white, male-on-female rape. In each case the white woman keeps silent about the rape and the narrative is troubled by that silence. I read the dilemma of these texts as at once ethical, political and aesthetic and I explore (...) that multi-faceted problem through three perspectives – the issue of silence, the narrative structures of the texts and the impossibility of resolution. The texts repeatedly question my reading position, not least in that they both suggest that the silence of the white woman might, in certain circumstances, be a condition for political progress. (shrink)

This article is based upon a lecture delivered at the Jubilee Conference of the Economic History Society at Churchill College, Cambridge, in April 1976. I gratefully acknowledge the discussion of my paper and also wish to thank Professor M.M. Postan and Mr. Clive Trebilcock for reading the manuscript and for their comments. This article draws upon source material collected during two research projects for which thanks are due to the Social Science Research Council for their financial support: the ‘East European (...) Economic History Project’ in which I conducted research with the Investigator Michael C. Kaser at St. Antony's College, Oxford, and my current research on ‘Multinational Companies in Central-East Europe’ at the University of East Anglia, Norwich. Any errors and omissions are my own. (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

That brings me to the crux of my disagreement with Hillis Miller. The central contention is not simply that I am sometimes, or always, wrong in my interpretation, but instead that I—like other traditional historians—can never be right in my interpretation. For Miller assents to Nietzsche's challenge of "the concept of 'rightness' in interpretation," and to Nietzsche's assertion that "the same text authorizes innumerable interpretations : there is no 'correct' interpretation."1 Nietzsche's views of interpretation, as Miller says, are relevant to (...) the recent deconstructive theorists, including Jacques Derrida and himself, who have "reinterpreted Nietzsche" or have written "directly or indirectly under his aegis." He goes on to quote a number of statements from Nietzsche's The Will to Power to the effect, as Miller puts it, "that reading is never the objective identifying of a sense but the importation of meaning into a text which had no meaning 'in itself.'" For example: "Ultimately, man finds in things nothing but what he himself has imported into them." "In fact interpretation is itself a means of becoming master of something."2 On the face of it, such sweeping deconstructive claims might suggest those of Lewis Carroll's linguistic philosopher, who asserted that meaning is imported into a text by the interpreter's will to power: "The question is," said Alice, "whether you can make words mean so many different things.""The question is," said Humpty Dumpty, "which is to be master—that's all." But of course I don't believe that such deconstructive claims are, in Humpty Dumpty fashion, simply dogmatic assertions. Instead, they are conclusions which are derived from particular linguistic premises. I want, in the time remaining, to present what I make out to be the elected linguistic premises, first of Jacques Derrida, then of Hillis Miller, in the confidence that if I misinterpret these theories, my errors will soon be challenged and corrected. Let me eliminate suspense by saying at the beginning that I don't think that their radically skeptical conclusions from these premises are wrong. On the contrary, I believe that their conclusions are right—in fact, they are infallibly right, and that's where the trouble lies. · 1. "Tradition and Difference," Diacritics 2 : 8, 12.· 2. Ibid. M. H. Abrams’s contributions to Critical Inquiry include "Rationality and Imagination in Cultural History: A Reply to Wayne Booth" and "Behaviorism and Deconstruction: A Comment on Morse Peckham's 'The Infinitude of Pluralism'". (shrink)

This article investigates the role of shame in shaping the epistolary form and aesthetic structure of Alice Walker's The Color Purple. I argue that the epistolary framing presents a crisis in the development of Celie's shamed self‐consciousness. To explain the connection between shame and Celie's self‐consciousness, I build on Jean Paul Sartre's theory of existentialism and explore three phases of Celie's evolution as it is represented in three phrases that I identify as significant transitions in the text: “I am,” (...) “But I'm here,” and “It mine.” The first section examines how shame fractures Celie's self‐consciousness; the second focuses on how Celie positions and locates herself in the world; and the third explains how Celie mobilizes shame by connecting her self‐consciousness to a past that is shameful but also generative. I conclude by considering the novel's emergence in the Cosby/Reagan era in order to illuminate the mutual constitution of black familial pride and black racial shame. (shrink)

The editors tell us this book is an outgrowth of their course in philosophical arguments. It contains both readings from traditional sources, and new material especially for this book. It is thus of interest as a potential text, as a source book, and for its original contributions. To consider it first as a text, it would be a challenging and valuable choice for sophisticated students. As a source-book, it is a good anthology of hard-core arguments on seven metaphysical topics. Authors (...) selected include Aristotle, Plato, Church Fathers, Rationalists, Locke and Hume, Bradley and Moore, Kant, Frege, Carnap, C. I. Lewis, Russell, and others. Selections run from a page or two to 16-page Hume excerpts. The last section, on The Nature of Metaphysics, contains essays newly written for this volume by A. J. Ayer, Brand Blanshard, John Passmore, and M. Lazerowitz. Other new material elsewhere in the book includes Alice Ambrose on Wittgenstein, and the introduction by W. E. Kennick. The latter suggests that in metaphysics there are arguments but no proofs, and that metaphysics has four curious characteristics: its disputes are never resolved; in these disputes the array of experts on each side is likely to be equally impressive; antinomies seem unavoidable; and metaphysics frequently conflicts with common sense. Ayer's article is called "Metaphysics and Common Sense." Using Carnap's distinction of "internal" and "external" questions, he finds metaphysical questions to be external. His explanation of what these are and why anyone would wish to raise them yields three legitimate ways in which metaphysics can add to our understanding of the world, and concludes that "it would be a mistake to forego the more imaginative kinds of conceptual exploration." In both tone and content this essay is a surprise for readers who know earlier work by Ayer. Passmore attempts to correct the popular tendency to confuse the philosopher with the sage. He places metaphysics, mathematics, and empirical science within "rational discussion": each is speculation, each has its characteristic control procedure. Blanshard's article attempts to defend metaphysics against criticisms such as those made by Dewey, Wittgenstein, and Freud. Lazerowitz treats the thesis that "metaphysics works by unseen paradoxes."--M. B. M. (shrink)

In this response, I suggest that Black southern women in the U.S. have always been central to the “reconstruction” that Taylor identifies as a central theme of Black aesthetics. Building on his allusions to Alice Walker and Jean Toomer, I explore Walker’s tearful response (in In Search of Our Mothers’ Gardens: Womanist Prose (1983) to Toomer’s Cane (2011). Walker identifies their mothers’ and grandmothers’ informal arts of storytelling and gardening as the hidden roots of both her and Toomer’s work. (...) I suggest that Walker’s tears function to water her mother’s (and othermothers’) gardens, thereby sustaining southern Black women’s foundational work in reconstruction. Through telling their stories and planting gardens, along with crafting meals, designing clothes, and designing and decorating homes, southern Black women have always been necessary to Black aesthetics—filling worlds with aesthetically-rich and energetic artworks that Black formal artists such as Walker channel and transfigure into their formal artistic productions. (shrink)

Seeking to provide a richer alternative to both the contemporary cult of beauty and appearance and the concomitant decline of real beauty, this book offers a systematic treatment of the relationship between beauty and the good by drawing from ancient (e.g., Plato, Aristotle, and others) and medieval (e.g., Aquinas, Bonaventure, Hugh of St. Victor, and others) thought in such a way as to bring together scholars in these traditions.

For Dietrich von Hildebrand beauty invites us to transcendence and leads us before the face of God, or in conspectu Dei. In order to elucidate what this means attention will be focused first on the objective importance of beauty, which carries with it according to von Hildebrand a message such that it speaks to us. The meaning of beauty as a “word” needs to be grounded in a metaphysics of the Logos which is in fact Light and Beauty, making everything (...) a participant in its light and beauty. If beauty as that which is important in itself or as value speaks to us, then a response is needed on our part, but responses to beauty can vary as von Hildebrand indicates in distinguishing between appropriate and inappropriate responses; why this is so will occupy briefly the second part of this paper. And lastly, the “call” of beauty to us is related to the final perfection of the human person, where true identity is achieved and where we will at last stand before the face of God. (shrink)

Our research is based on a rather large "library" of various works by M. Drahomanov, which contains his views on religion. Among them: Paradise and Progress, From the History of Relations Between Church and State in Western Europe, Faith and Public Affairs, Fight for Spiritual Power and Freedom of Conscience in the 16th - 17th Centuries,, "Church and State in the Roman Empire", "The Status and Tasks of the Science of Ancient History," "Evangelical Faith in Old England," "Populism and Popular (...) Progress in Austrian Rus, Austrian-Russian Remembrance," "Pious The Legend of the Bulgarians "," The Issues of Religious Freedom in Russia, "" On the Brotherhood of the Baptist or the Baptist in Ukraine, "" The Foreword, " Shevchenko, Ukrainianophiles and Socialism "," Wonderful thoughts about the Ukrainian national affair "," Zazdri gods "," Slavic variants of one Gospel legend "," Resurrection of Christ ", etc. (shrink)

Western democracy is now at a critical juncture. Some worry that power has been wrested from the people and placed in the hands of a small political elite. Others argue that the democratic system gives too much power to a populace that is largely ill-informed and easily swayed by demagogues. This classic study of democratic principles is thus now more relevant than ever. A renowned historian of antiquity and political philosophy, Sir M.I. Finley offers a comparative analysis of Greek and (...) modern conceptions of democracy. As he puts the ancient Greeks in dialogue with their contemporary counterparts, Finley tackles some of the most pressing issues of our day, including public apathy, partisanship, consensus politics, distrust of professional politicians, and the limits of free speech. Including three lectures that Finley delivered at Rutgers University, plus two additional essays that further illuminate his thinking, _Democracy Ancient and Modern _explores the dramatic differences between the close-knit civil society of the ancient Greeks and our own atomized mass societies. By mapping out democracy’s past and its present manifestations, this book helps us plot a course for democracy’s future. (shrink)