O mágico de Oz, obra de L. Frank Baum, muito embora tenha sido escrita no fim do século XIX, permanece atuando sobre o imaginário infantil cem anos depois. Centrado na personagem feminina, o texto não só desconstrói os estereótipos do conto de fadas tradicional, ao relativizar o papel da bruxa, que pode ser boa ou má, como também garante o estatuto de herói para uma personagem infantil do gênero feminino. Nessa perspectiva, este trabalho pretende discutir qual é a representação de (...) gênero veiculada pelas personagens femininas, fundamentado em estudos de crítica feminista. (shrink)

Resumo: Palavras-chave: : Keywords: The wizard of Oz . Genre. Child reader. The wizard of Oz , by L. Frank Braum, in despite of having been written in the late XIX century, remains performing an important role in the children imaginary after a hundred years. Centered on the feminine character the text deconstruct traditional fairy tells stereotypes when relativizes the witch role, which can be good or bad, and also guarantees a hero status to a female child book character. In (...) this perspective the paper intends to discuss which genre representation is taken by female characters based on feminist critic studies. O mágico de Oz. Gênero. Leitor infantil. O mágico de Oz, obra de L. Frank Baum, muito embora tenha sido escrita no fim do século XIX, permanece atuando sobre o imaginário infantil cem anos depois. Centrado na personagem feminina, o texto não só desconstrói os estereótipos do conto de fadas tradicional, ao relativizar o papel da bruxa, que pode ser boa ou má, como também garante o estatuto de herói para uma personagem infantil do gênero feminino. Nessa perspectiva, este trabalho pretende discutir qual é a representação de gênero veiculada pelas personagens femininas, fundamentado em estudos de crítica feminista. (shrink)

The myths which seek to assert the idea of completeness per medium of the creature of dual sex are legion. The androgyne of Plato, the Tiresias of the fable, through their double sexuality and their ability to meld in one body both animus and anima, the genius of man and the genius of woman, affirm the idea of ontological perfection. But, consubstantial with their radiant power is the terror that they generate. For they unsettle even the gods. Symbol of the (...) creative harmony and beauty of the universe, the androgyne is nonetheless the harbinger of catastrophe. Its perfection is an anomaly. Its beauty a provocation. Its intelligence an insult. For the androgyne is the copy of God, the extremity of a hand that shapes, capable of what God is able. (shrink)

Presents a guide to the basics of quantum mechanics and measurement.

4E cognition (embodied, embedded, enactive, and extended) is a relatively young and thriving field of interdisciplinary research. It assumes that cognition is shaped and structured by dynamic interactions between the brain, body, and both the physical and social environments. -/- With essays from leading scholars and researchers, The Oxford Handbook of 4E Cognition investigates this recent paradigm. It addresses the central issues of embodied cognition by focusing on recent trends, such as Bayesian inference and predictive coding, and presenting new insights, (...) such as the development of false belief understanding. -/- The Oxford Handbook of 4E Cognition also introduces new theoretical paradigms for understanding emotion and conceptualizing the interactions between cognition, language, and culture. With an entire section dedicated to the application of 4E cognition in disciplines such as psychiatry and robotics, and critical notes aimed at stimulating discussion, this Oxford handbook is the definitive guide to 4E cognition. -/- Aimed at neuroscientists, psychologists, psychiatrists, and philosophers, The Oxford Handbook of 4E Cognition will be essential reading for anyone with an interest in this young and thriving field. (shrink)

If you wish to learn from the theoretical physicist anything about the methods which he uses, I would give you the following piece of advice: Don't listen to his words, examine his achievements. For to the discoverer in that field, the constructions of his imagination appear so necessary and so natural that he is apt to treat them not as the creations of his thoughts but as given realities.

The major divide in contemporary epistemology is between those who embrace and those who reject a priori knowledge. Albert Casullo provides a systematic treatment of the primary epistemological issues associated with the controversy. By freeing the a priori from traditional assumptions about the nature of knowledge and justification, he offers a novel approach to resolving these issues which assigns a prominent role to empirical evidence. He concludes by arguing that traditional approaches to the a priori, which focus primarily on (...) the concepts of necessity and analyticity, are misguided. (shrink)

This collection of original papers on the special and general theories of relativity constitutes an indispensable part of a library on relativity. Here are the 11 papers that forged the general and special theories of relativity: seven papers by Einstein, plus two papers by Lorentz and one each by Minkowski and Weyl.

It is argued that certain recent advances in the construction of a theory of the collapses of Quantum Mechanical wave functions suggest the possibility of new and improved foundations for statistical mechanics, foundations in which epistemic considerations play no role.

Benjamin Whichcote.--Benjamin Whichcote and Jeremy Taylor.--John Smith.--Ralph Cudworth.--Henry More.--Richard Cumberland.--Nathanael Culverwel.--George Rust.--Edward Stillingfleet.--Additional notes: John Calvin.--Lancelot Andrewes: Excerpt on the candle of the Lord.--William Laud: Excerpt on Scripture.

This essay focuses on how casuistry can become a useful technique of practical reasoning for the clinical ethicist or ethics consultant. Casuistry is defined, its relationship to rhetorical reasoning and its interpretation of cases, by employing three terms that, while they are not employed by the classical rhetoricians and casuists, conform, in a general way, to the features of their work. Those terms are (1) morphology, (2) taxonomy, (3) kinetics. The morphology of a case reveals the invariant structure of the (...) particular case whatever its contingent features, and also the invariant forms of argument relevant to any case of the same sort: these invariant features can be called topics. Taxonomy situates the instant case in a series of similar cases, allowing the similarities and differences between an instant case and a paradigm case to dictate the moral judgment about the instant case. This judgment is based, not merely on application of an ethical theory or principle, but upon the way in which circumstances and maxims appear in the morphology of the case itself and in comparison with other cases. Kinetics is an understanding of the way in which one case imparts a kind of moral movement to other cases, that is, different and sometimes unprecedented circumstances may move certain marginal or exceptional cases to the level of paradigm cases. In conclusion, casuistry is the exercise of prudential or practical reasoning in recognition of the relationship between maxims, circumstances and topics, as well as the relationship of paradigms to analogous cases. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

The primary purpose of this paper is to argue that particulars in the actual world are nothing but complexes of universals. I begin by briefly presenting bertrand russell's version of this view and exposing its primary difficulty. I then examine the key assumption which leads russell to difficulty and show that it is mistaken. The rejection of this assumption forms the basis of an alternative version of the view which is articulated and defended.

This paper’s purpose is to provide a foundation for viewing critical thinking as both a maximal and typical performance construct. While maximal performance measures the best a person can do, typical performance measures what the person is most likely to do. An overview of maximal performance, including its history and limitations, will be given. The role of maximal and typical performance in cognitive development will be demonstrated through an exploration of the relationships between behavior, the environment, personality, crystallized intelligence, and (...) fluid intelligence. Furthermore, these topics will be related to the development and use of critical thinking skills. Discussion will conclude with directions for future research. (shrink)

Standalone corporate social responsibility reports vary considerably in the content of information released due to their voluntary nature. In this study, we develop a disclosure score based on the tone, readability, length, and the numerical and horizon content of CSR report narratives, and examine the relationship between the CSR disclosure scores and analyst forecasts. We find that CSR reporters with high disclosure scores are associated with more accurate forecasts, whereas low score CSR reporters are not associated with more accurate forecasts (...) than firms who do not issue CSR reports. The findings are robust to controlling for firm characteristics including CSR activity ratings and financial narratives. The findings are driven by experienced CSR reporters rather than first-time CSR reporters. Together, our findings suggest that the content of CSR reports helps to improve analyst forecast accuracy, and this relationship is more pronounced for CSR reports with more substantial content. (shrink)

In this paper we study proofs of some general forms of the Second Incompleteness Theorem. These forms conform to the Feferman format, where the proof predicate is fixed and the representation of the set of axioms varies. We extend the Feferman framework in one important point: we allow the interpretation of number theory to vary.

The past twenty-five years have seen a major renewal of interest in the topic of a priori knowledge. In the sixteen essays collected here, which span this entire period, philosopher Albert Casullo documents the complex set of issues motivating the renewed interest, identifies the central epistemological questions, and provides the leading ideas of a unified response to them.

In his paper "Undecidability without arithmetization," Andrzej Grzegorczyk introduces a theory of concatenation $\mathsf{TC}$. We show that pairing is not definable in $\mathsf{TC}$. We determine a reasonable extension of $\mathsf{TC}$ that is sequential, that is, has a good sequence coding.

We discuss two recent attempts two solve Schrodinger's cat paradox. One is the modal interpretation developed by Kochen, Healey, Dieks, and van Fraassen. It allows for an observable which pertains to a system to possess a value even when the system is not in an eigenstate of that observable. The other is a recent theory of the collapse of the wave function due to Ghirardi, Rimini, and Weber. It posits a dynamics which has the effect of collapsing the state of (...) macroscopic systems. We argue that the modal interpretation cannot account for non-accurate measurements and that both accounts have the consequence that in ordinary measurement situations the observables that ends up well defined are not quite the ones that we want to be well defined. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

This paper examines the view that ordinary particulars are complexes of universals. Russell's attempt to develop such a theory is articulated and defended against some common misinterpretations and unfounded criticisms in Section I. The next two sections address an argument which is standardly cited as the primary problem confronting the theory: (1) it is committed to the necessary truth of the principle of the identity of indiscernibles; (2) the principle is not necessarily true. It is argued in Section II that (...) a proponent of the theory need not accept (1) and an argument against (2) is presented in Section III. The final section attempts to show that Russell's theory ultimately fails because of inadequacies in its treatment of space and time. The paper closes with a suggestion for remedying this difficulty. (shrink)

Albert Dzur proposes an approach he calls "democratic professionalism" to build bridges between specialists in domains like law, medicine, and journalism and the lay public in such a way as to enable and enhance broader public engagement ...

A many-worlds interpretation is of quantum mechanics tells us that the linear equations of motion are the true and complete laws for the time-evolution of every physical system and that the usual quantum-mechanical states provide complete descriptions of all possible physical situations. Such an interpretation, however, denies the standard way of understanding quantum-mechanical states. When the pointer on a measuring device is in a superposition of pointing many different directions, for example, we are to understand this as many pointers, each (...) in a differentworld, each pointing in a different determinate direction. We ask here whether such talk makes any genuinely intelligible sense of the term world. We conclude that it does not. (shrink)

A Quantum-Mechanical automation, equipped with mechanisms for the measurement and the recording and the prediction of certain physical properties of the world, is described. It is inquired what sort of empirical description such an automation would produce of itself. It turns out that this description would be a very novel one, one such as was never imagined in the conventional discussions of measurement.

This paper addresses a family of issues surrounding the biological phenomenon of resistance and its representation in realist ontologies. The treatments of resistance terms in various existing ontologies are examined and found to be either overly narrow, internally inconsistent, or otherwise problematic. We propose a more coherent characterization of resistance in terms of what we shall call blocking dispositions, which are collections of mutually coordinated dispositions which are of such a sort that they cannot undergo simultaneous realization within a single (...) bearer. A definition of ‘protective resistance’ is proposed for use in the Infectious Disease Ontology (IDO) and we show how this definition can be used to characterize the antibiotic resistance in Methicillin-Resistant Staphylococcus aureus (MRSA). The ontological relations between entities in our MRSA case study are used alongside a series of logical inference rules to illustrate logical reasoning about resistance. A description logic representation of blocking dispositions is also provided. We demonstrate that our characterization of resistance is sufficiently general to cover two other cases of resistance in the infectious disease domain involving HIV and malaria. (shrink)

From one of the world's most important and enduring minds, Albert Einstein's ideas, thoughts, and philosophies on the world and its people. Copyright © Libri GmbH. All rights reserved.

A discussion of the general presuppositions and ideas which underlie the Christian ethical teaching, treating of such subjects as conscience, the concepts of sin and virtue, and the relation between morality and religion. The book also attempts to explain the traditional Christian attitudes towards certain particular matters of conduct; for example, marriage and divorce, gambling, and the rights and duties of private property. Written by the then Bishop of Exeter, this book was originally published in 1950.

The Altdeutsche Textbibliothek [Old German Text Library] is the series of editions of German medieval texts with the richest history. Foundedin 1881 by Hermann Paul, it has been edited by leading Germanists- Georg Beasecke, Hugo Kuhn, Burghart Wachinger. Since 2001, responsibility for the series has rested with Christian Kiening. In the meantime, the series comprises some 120 volumes, with an exemplary combination of closeness to the original manuscript(s) with ease of reading, philological accuracy with concern for university teaching. It includes (...) recognised editions of "classical" authors from around 1200- some with commentary- but also presents veritable editions of authors' works (Notker the German) and high-quality new editions (Eckenlied, Heinrich von dem Türlin). (shrink)

The central result of this paper is the small‐is‐very‐small principle for restricted sequential theories. The principle says roughly that whenever the given theory shows that a definable property has a small witness, i.e., a witness in a sufficiently small definable cut, then it shows that the property has a very small witness: i.e., a witness below a given standard number. Which cuts are sufficiently small will depend on the complexity of the formula defining the property. We draw various consequences from (...) the central result. E.g., roughly speaking, (i) every restricted, recursively enumerable sequential theory has a finitely axiomatized extension that is conservative with respect to formulas of complexity ; (ii) every sequential model has, for any n, an extension that is elementary for formulas of complexity, in which the intersection of all definable cuts is the natural numbers; (iii) we have reflection for ‐sentences with sufficiently small witness in any consistent restricted theory U; (iv) suppose U is recursively enumerable and sequential. Suppose further that every recursively enumerable and sequential V that locally inteprets U, globally interprets U. Then, U is mutually globally interpretable with a finitely axiomatized sequential theory. The paper contains some careful groundwork developing partial satisfaction predicates in sequential theories for the complexity measure depth of quantifier alternations. (shrink)

In this note we derive Robinson???s Arithmetic from Hume???s Principle in the context of very weak theories of classes and relations.

This paper is concerned with notions of consequence. On the one hand, we study admissible consequence, specifically for substitutions of Σ 1 0 -sentences over Heyting arithmetic . On the other hand, we study preservativity relations. The notion of preservativity of sentences over a given theory is a dual of the notion of conservativity of formulas over a given theory. We show that admissible consequence for Σ 1 0 -substitutions over HA coincides with NNIL -preservativity over intuitionistic propositional logic . (...) Here NNIL is the class of propositional formulas with no nestings of implications to the left . The identical embedding of IPC -derivability into a consequence relation has in many cases a left adjoint. The main tool of the present paper will be an algorithm to compute this left adjoint in the case of NNIL -preservativity. In the last section, we employ the methods developed in the paper to give a characterization the closed fragment of the provability logic of HA. (shrink)

This paper focuses on coherence and consistency as elements of moral integrity, arguing that several kinds of—mostly second-order—virtues contribute to establishing coherence and consistency in a person's judgements and behaviour. The virtues relevant for integrity always accompany other, substantive virtues, and their associated values, principles and rules. In moral education we teach children all kinds of substantive virtues with integrity as our goal. Nevertheless, many adults do not attain moral integrity, although they are clearly not immoral. What precisely are they (...) lacking? Education for moral integrity should focus on strengthening motivational self-sufficiency, furthering critical and imaginative thinking and promoting moral unity. (shrink)