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  1.  2
    Hair, Hormones, and Haunting: Race as a Ghost Variable in Polycystic Ovary Syndrome.Brandon Kramer & Elizabeth Carlin - 2020 - Science, Technology, and Human Values 45 (5):779-803.
    In this paper, we examine how polycystic ovary syndrome is racialized in biomedical research. Drawing from Star’s seminal concept of triangulation, we analyze how the diagnostic criteria for PCOS combine two different biomarkers: body hair and testosterone. Hair and hormones are both haunted by their use in eugenic research, and as clinical measures, they can carry forward powerful narratives of biological difference. PCOS researchers circulate strong claims about racial difference in hirsutism as if they were established knowledge, sometimes calling for (...)
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  2.  18
    P. Oxy. XLVIII.B. Kramer - 1983 - The Classical Review 33 (02):300-.
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  3.  28
    Phillip Vallentine Tobias Hon. FRSSAf, 1925–2012.R. J. Clarke & Beverley Kramer - 2012 - Transactions of the Royal Society of South Africa 67 (3):169-173.
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  4.  23
    Textual and Linguistic Notes on the Hermeneumata Celtis and the Corpus Glossariorum.J. M. S. Cowey & B. Kramer - 2010 - Classical Quarterly 60:238-242.
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  5.  32
    Land-Grant Universities and Extension Into the 21st Century: Renegotiating or Abandoning a Social Contract. By George R. McDowell. [REVIEW]Nancy Grudens-Schuck & Brett A. Kramer - 2003 - Agriculture and Human Values 20 (2):205-209.
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  6. Precise Measurements in Classical and Modern Physics.Bernhard Kramer - 1995 - In Heinz Lübbig (ed.), The Inverse Problem. Akademie Verlag Und Vch Weinheim. pp. 25.
     
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  7.  17
    P. Oxy. 51.Bärbel Kramer - 1985 - The Classical Review 35 (02):360-.
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  8.  24
    P. Oxy. 51 J. R. Rea: The Oxyrhynchus Papyri, Vol. LI. (Graeco-Roman Memoirs, 71.) Pp. Xvi + 150; 8 Plates. London: The British Academy (Egypt Exploration Society), 1984. [REVIEW]Bärbel Kramer - 1985 - The Classical Review 35 (02):360-362.
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  9.  31
    P. Oxy. XLVIII - M. Chambers, W. E. H. Cockle, J. C. Shelton, E. G. Turner: The Oxyrhynchus Papyri, Vol. XLVIII. Pp. Xviii + 166; 8 Plates. London: The British Academy , 1981. [REVIEW]B. Kramer - 1983 - The Classical Review 33 (02):300-302.
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  10.  4
    Absolute Erkenntnis – Zum Ursprung eines Konzepts in Porphyrios' Parmenides- Kommentar.Benedikt Krämer - 2019 - Hermes 147 (4):483.
    The paper deals with the source of Porphyry's concept of a γνωσιζ απολυτοζ, which is ascribed to the One in the commentary on Plato's Parmenides. It will be argued, that Porphyry employs a specific, formal understanding of absoluteness, which can be traced back to Plotinus' Enneads. Furthermore, as a careful reader of his master's writings, Porphyry may have been inspired by Plotinus' teachings not only concerning the formal understanding of absoluteness but also in content. This thesis is spelt out in (...)
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  11.  3
    Online Music Recommendation Platforms as Representations of Ontologies of Musical Taste.Benjamin Krämer - 2018 - Communications 43 (2):259-281.
    The framework of the ‘social ontology of the internet’ is applied to music recommendation platforms. Those websites provide individual suggestions of music to users, creating new dynamics of taste that are no longer based on human-to-human interaction and verbalized judgments. An exemplary analysis of three platforms shows that different conceptions of musical tastes are represented by technical systems: situational emotional preferences, a formalist aesthetics, and social proximity based on tastes. The platforms share certain assumptions about the ontology of musical entities (...)
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  12.  17
    Types of Statements on Emotion in Music.Benjamin Krämer - 2012 - Nordic Journal of Aesthetics 23 (43).
    The question of emotion in music is addressed from a linguistic perspective, providing a typology of statements that can be made about that topic. In particular, it is analyzed how an interlocutor could react to such statements uttered by another person, and whether or how the content of the statements could be refuted by the listener, and possibly corroborated by the speaker. Furthermore, it is briefly discussed which theories of emotion in music are compatible with the respective types of statement (...)
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