“What does it mean to say that we live in a secular age?” This apparently simple question opens into the massive, provocative, and complex A Secular Age, where Charles Taylor positions secularism as a defining feature of the modern world, not the mere absence of religion, and casts light on the experience of transcendence that scientistic explanations of the world tend to neglect. -/- In Varieties of Secularism in a Secular Age, a prominent and varied group of scholars chart the (...) conversations in which A Secular Age intervenes and address wider questions of secularism and secularity. The distinguished contributors include Robert Bellah, José Casanova, Nilüfer Göle, William E. Connolly, Wendy Brown, Simon During, Colin Jager, Jon Butler, Jonathan Sheehan, Akeel Bilgrami, John Milbank, and Saba Mahmood. -/- Varieties of Secularism in a Secular Age is edited by Michael Warner, Jonathan VanAntwerpen, and Craig Calhoun. (shrink)

Phantasmagoria explores ideas of spirit and soul since the Enlightenment; it traces metaphors that have traditionally conveyed the presence of immaterial forces, and reveals how such pagan and Christian imagery about ethereal beings are embedded in a logic of the imagination, clothing spirits in the languages of air, clouds, light and shadow, glass, and ether itself. Moving from Wax to Film, the book also discusses key questions of imagination and cognition, and probes the perceived distinctions between fantasy and deception; it (...) uncovers a host of spirit forms--angels, ghosts, fairies, revenants, and zombies--that are still actively present in contemporary culture. It reveals how their transformations over time illuminate changing ideas about the self. Phantasmagoria also tells the accompanying story about the means used to communicate such ideas, and relates how the new technologies of the Victorian era were applied to figuring the invisible and the impalpable, and how magic lanterns (the phantasmagoria shows themselves), radio, photography and then moving pictures spread ideas about spirit forces. As the story unfolds, the book features the many eminent men and women--scientists and philosophers--who in the Society of Psychical Research applied their considerable energies to the question of other worlds and other states of mind: they staged trance seances in which mediums produced spirit phenomena, including ectoplasm. The book shows how this often embarrassing story connects with some of the important scientific discoveries of a fertile age, in psychology and physics. Over a sequence of twenty-eight chapters, with over thirty illustrations in color and black and white, Phantasmagoria thus tells an unexpected and often uncomfortable story about shifts in thought about consciousness and the individual person, from the first public waxworks portraits at the end of the eighteenth century to stories of hauntings, possession, and loss of self as in the case of the zombie, a popular figure of soulessness, in modern times. (shrink)

In this lively collection ten philosophers tackle the notoriously elusive issues raised by religious discourse in a series of linked debates. The debates focus on reason and faith; the logic of mysticism; the meaning of the word 'God'; language, biblical interpretation and worship; and religion and ethics. Through contemporary philosophical analysis it is possible to shed new light on teh status and language of religion, and in many ways the contributors to Religion and Philosophy break new ground in this perennially (...) controversial field. The collection is addressed to philosophers, theologians and anyone with a general intellectual interest in religion. Certainly it will be a valuable addition to the reading list of all teachers or students of the philosophy of religion. (shrink)

Background: Many people participating in dementia research may lack capacity to give informed consent and the relationship between cognitive function and capacity remains unclear. Recent changes in the law reinforce the need for robust and reproducible methods of assessing capacity when recruiting people for research.Aims: To identify numbers of capacitous participants in a pragmatic randomised trial of dementia treatment; to assess characteristics associated with capacity; to describe a legally acceptable consent process for research.Methods: As part of a pragmatic randomised controlled (...) trial of Ginkgo biloba for mild-moderate dementia, we used a consenting algorithm that met the requirements of existing case law and the exigencies of the new Mental Capacity Act. We decided who had capacity to give informed consent for participation in the trial using this algorithm and sought predictors of capacity.Results: Most participants with mild-moderate dementia in this trial were unable to give informed consent according to the legal criteria. When adjusted for confounding, the Mini Mental State examination did not predict the presence of capacity.Conclusion: Cognitive testing alone is insufficient to assess the presence of capacity. Researchers and clinicians need to be aware of the challenging processes regarding capacity assessment. We outline a procedure which we believe meets the ethical and legal requirements. (shrink)

The authors of the articles in this special section discuss an array of psychological perspectives on emotion. The articles provide only a limited consideration of status and power processes, however, which play a larger role in sociological theories of emotion than in psychological ones. Here, I examine the ways in which the theories account for status and power and suggest opportunities for greater inclusion of these key facets of social structure.

An ongoing challenge facing emotion researchers is finding appropriate measurement tools. Many of our theories focus on emotion in the context of dynamic interaction, yet many of our most relied-upon measures either interrupt or alter interaction. New research suggests that infrared thermography may be useful as a nonintrusive way to measure emotion. Here we discuss the viability of thermography for studying emotion response and advancing emotion theory.

In this paper the principle that the boundary of a boundary is identically zero (∂○∂≡0) is applied to a skeleton geometry. It is shown that the left-hand side of the Regge equation may be interpreted geometrically as the sum of the moments of rotation associated with the faces of a polyhedral domain. Here the polyhedron, warped though it may be, is located in a lattice dual to the original skeleton manifold. This sum is related to the amount of energy-momentum (E-p) (...) associated to the edge in question. In the establishment of this equation the ordinary Bianchi identity is rederived by applying the principle that the (∂○∂≡0) in its (1–2–3)-dimensional formulation to polyhedral domain. Steps toward the derivation of the contracted Bianchi identity using this principle in its (2–3–4)-dimensional form are discussed. Preliminary results in this direction indicate that there should be one vector identity per vertex of the skeleton geometry. “Space acts on matter, telling it how to move. In turn, matter reacts back on space, telling it how to curve.”—Ref. 3, Chap. 1. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Out of an Old Toy ChestMarina Warner (bio)The Soul of the ToyIn Baudelaire’s essay “La Morale du joujou,” written in l853, he remembers how the toyshop owner Madame Pancoucke, all wrapped in velvet and furs, beckoned the young Charles to choose something from her “treasure store for children.” Looking back down the years, the poet still sees in his mind’s eye the magic room overflowing with toys from (...) floor to ceiling that this “Fée du joujou” (Toy Fairy) opened to him. Without a second thought, he picked out “the most beautiful, the most expensive, the most garish, the freshest and the most bizarre of the playthings.” But his horrified mother insisted he choose another, less extravagant present, and the little Baudelaire had to resign himself and relinquish his toy.The word joujou (not jouet, the usual word for toy) is almost a pet name with a nursery ring like a “teddy” or a “dolly”; its repetition hints at baby talk and hence at playing, as when a child exchanges endearments and questions with a toy in imaginary conversations and elaborate scenarios. The toy in so many children’s games becomes part of an ongoing story and in this way initiates the first invented narratives in the child’s life.That scene of seduction, pleasure, and frustration with Mme. Pancoucke and his own mother catches Baudelaire’s lasting affection and reasoned admiration for toys. He called them “cette statuaire singulière” (this singular statuary); he was first a poet and then an art critic rather than a novelist, and as a flâneur of the boulevards and the galleries, he adopted a language of aesthetics, treating toys as an unusual form of sculpture. He recalls in pleasurable detail the miniature worlds conjured by Victorian nursery games and child’s play—from tiny “diligences” or mail coaches to detailed model furniture. But above all he muses in wonder at children’s ability to play without props or models, creating narratives, dialogue, and dramas [End Page 3] through fantasy alone: “All children talk to their toys; toys become actors in the great drama of life, reduced by the camera obscura of their small brains. Children bear witness through their games to their great faculty of abstraction and their high imaginative power. They play without playthings.”1Significantly, Baudelaire goes on to make the connection to creativity in general: “[The child’s] facility to satisfy the imagination shows the spirituality of childhood in its artistic conceptions. The plaything is the first initiation of a child to art.” Nothing will ever attain again, he says, the same degree of liveliness, or, crucially, the same intensity of presence or belief. For Baudelaire, the realization of childish make-believe cannot be regained: “Isn’t all of life found there in miniature, and much more vivid in colour, cleaner and shinier than real life?”2Yet Baudelaire’s essay lingers on the frustration that dims these vivid, shiny colors, for children, he says, also want to see the soul of a toy. He describes how they will turn about their playthings and shake them, hurl them to the ground, and often break them in their bafflement and even rage at their stubborn refusal to awaken into life. His meditation hints that at the point when make-believe fails, the vitality of toys vanishes and produces a primal encounter with mortality: “But where is the soul? It’s here that bewilderment and sadness begin.”3 The beginning of imagining stories brings with it frustration that the story is not powerful enough—it is not the real thing. In a connected prose poem entitled “Le Joujou du pauvre,” published nine years later, Baudelaire pursues this thought, as he observes an exchange between a beautiful, pampered child inside the exclusive railed park of a chateau. He has “a splendid toy, as fresh as its master, varnished, gilded, clothed in a purple dress and covered with plumes and glitter.”4 But the rich child is not interested in his doll, for on the other side of the railings a ragged street urchin shows him, in a little cage which he shakes about, a living rat—”drawn... (shrink)

This is the text of The Lindley Lecture for 1980, given by Warner Wick, an American philosopher.