The work of scientists and doctors in advancing genetic research and its applications has been accompanied by plenty of discussion in the popular press—from Good Housekeeping and Forbes to Ms. and the Congressional Record—about such ...

In our rapidly changing environment, both profit and non-profit organizations confront an increasing demand for technological, economic, and social innovation. In response to this demand, organizations are taking on the role of “change agents” by transforming existing practices into innovative action. Libraries, as centers that accumulate and disperse knowledge, can support these organizations in their “change agent” roles. This paper delineates the way public libraries can help organizations meet the increasing need for external information associated with innovation. Policy issues concerned (...) with efficient information transfer to user organizationss are specified, and two concrete examples of information transfer systems are described. In order to best utilize existing knowledge,personal-professional assistance in selecting potentially innovative,impersonal written materials is recommended. (shrink)

The Artificial Kingdom is the first book to provide a cultural history of kitsch, an immensely popular aesthetic phenomenon that has always been disdained as "bad taste," or a cheap imitation of art. Proposing instead that kitsch is the product of a larger sensibility of loss, Celeste Olalquiaga shows how it enables the momentary re-creation of experiences that exist only as memories or fantasies. Simultaneously exposing and celebrating this process, Olalquiaga gives us a bold, trenchant analysis of what and (...) how we see when we look at kitsch. Tracing its beginnings to the nineteenth century--when industrialization transformed nature into an artificial kingdom of miniature scale--Olalquiaga describes the at once exhilarated and melancholic atmosphere where kitsch came to life. In an arresting mix of theory and anecdote, she examines objects from both the past and the present, probing the fluid boundaries between reality and fantasy, and finding in kitsch a phenomenon as relevant to our own time as it was to the era that made it a massive experience. (shrink)

In the face of documented difficulties in the public understanding of genetics, new metaphors have been suggested. The language of information coding and processing has become deeply entrenched in the public representation of genetics, and some critics have found fault in the blueprint metaphor, a variant of the dominant theme. They have offered the language of the recipe as a preferable metaphor. The metaphors of the blueprint and the recipe are compared in respect to their deterministic implications and other associations. (...) The likelihood of the recipe metaphor framing cognition in more useful ways is called into question. (shrink)

The main goal of this paper will be to analyze the relationship between the phenomenon of conceptual relativity and the speaking-sensitive semantics. My paper will be divided into three parts. In the first part I will present Putnam's the phenomenon of conceptual relativity, in the second part I will exhibit the main ideas that characterize the speaking-sensitive semantics defended by Putnam and, finally, in the last part I will connect Putnam's semantics with the doctrine of conceptual relativity.

The main aim of this brief paper is to present in which sense both Putnam's internal realism and his natural realism are realist. In order to do that I will take into consideration the notion of "reality" that Putnam uses in his defense of his internalist perspective as well in his present natural realism. Although there exist significant differences between Putnam's two different realist stances, the notion of "reality" present in each of them remains the same. In this paper I (...) will clarify what Putnam understands by that notion. (shrink)

Writing about loneliness has been a struggle in the midst of the pandemic. Characterized by loneliness, isolation, anxiety, and fear, the COVID-19 pandemic is an exceptionally challenging time. At various points while navigating this loneliness project amid a particularly lonely time, we lamented the seeming futility of it all. A main goal of developing a Feminist Loneliness Studies in this introduction is to understand the ways that systems of oppression – white supremacy, settler colonialism, anti-queer bias, misogyny, neoliberal capitalism, and (...) so on – create our lonely world. To date, there remains no comprehensive feminist analysis of the structural conditions that both produce and intensify experiences of loneliness. We aim to remedy this gap. That is, we seek to address what a Feminist Loneliness Studies can contribute to understanding the complexities of this complicated emotion. For example, what is the unique loneliness of the feminist killjoy who calls out, or calls in, existing forms of queerphobia, racism, and sexism? What does it mean to be a politicized person and how does that result in both alienation and isolation? What might the relationship be between white supremacy and loneliness? How is loneliness both individual and systemic, and what is the relationship between the two? What distinctive forms of loneliness are created by ableism, sanism, neoliberalism, capitalism, globalization, and the gig economy? Ought loneliness be avoided at all costs? What are the ethics of loneliness? In our introduction to this special issue, we unpack and theorize the potential perils and generative possibilities offered up by this profound emotion. Establishing a Feminist Loneliness Studies provides us with the space we need to begin addressing and comprehending loneliness. (shrink)

In the last third of the twentieth century, humanists and social scientists argued that attention to genetics would heighten already‐existing genetic determinism, which in turn would intensify negative social outcomes, especially sexism, racism, ableism, and harshness to criminals. They assumed that laypeople are at risk of becoming genetic essentialists. I will call this the “laypeople are genetic essentialists model.” This model has not accurately predicted psychosocial impacts of findings from genetics research. I will be arguing that the failure of the (...) model can be traced to its inability to recognize the complexity of laypeople’s attitudes; its incorrect theory of how beliefs, attitudes, and discourse function; and its blindness to how academics’ own interests can override the available evidence. More specifically, I suggest that the substantial data about laypeople’s deployment of genetics supports what I will call the “laypeople are strategic essentialists model” better than the “laypeople are genetic essentialists model.” The strategic essentialists model holds that people tend to store multiple categories, including multiple causal forces, that they deploy “strategically” to serve context‐dependent goals. It will be difficult for academics to reorient ourselves to model laypeople as sophisticated strategic essentialists rather than as naïve genetic essentialists. Perhaps a little shift, however, will be of value. (shrink)

This article explores the prospects for a eudaimonist moral theory that is both feminist and Aristotelian. Making the moral philosophy developed by Aristotle compatible with a feminist moral perspective presents a number of philosophical challenges. Lisa Tessman offers one of the most sustained feminist engagements with Aristotelian eudaimonism. However, in arguing for the account of flourishing that her eudaimonist theory invokes, Tessman avoids taking a stand either for or against the role Aristotle assigned to human nature. She draws her account (...) of flourishing instead from the beliefs about flourishing implicit in the feminist and black freedom movements. I examine the implicit conception of flourishing in the writings of two prominent leaders of the black freedom movement—Martin Luther King, Jr. and Malcolm X—and argue that Tessman's attempt to avoid the “sticky issue” of human nature is not successful. Tessman's defense of the burdened virtues depends on a particular reading of human nature as does a eudaimonist account of the virtues more generally. (shrink)

RESUMEN Este trabajo se propone analizar los aportes de Judith Butler a las actuales lecturas norteamericanas sobre la introducción del deseo en la Fenomenología del espíritu de Hegel. Para ello, en primer lugar, situamos la aparición del deseo en la obra mencionada; en segundo lugar reconstruimos los principales lineamientos de las interpretaciones estadounidenses en boga; en tercer lugar nos ocupamos del análisis que Butler realiza sobre esta cuestión en Sujetos del deseo. Reflexiones hegelianas en la Francia del siglo XX. Por (...) último, en la conclusión, sistematizamos las contribuciones de Butler, destacando fundamentalmente tres: la significación particular que le otorga al deseo en su momento de emergencia; el modo de abordaje de esta problemática que se detiene en el estudio del tercer capítulo de la Fenomenología del espíritu; y la perspectiva retórica desde la que explica el deseo. ABSTRACT This paper aims to analyze Judith Butler's contributions to the recent interpretations of the introduction of desire in Hegel's Phenomenology of Spirit, proposed by American scholars. In order to achieve this goal, we situate the appearance of desire in Hegel's Phenomenology of Spirit. Then, we reconstruct the main recent American readings. Finally, we examine Butler's interpretation. In the conclusion of this paper, we systematize the most important features of Butler's reading: the meaning of desire in the context of its moment of emergency; the way in which Butler studies this issue, which consist in a thorough reading of chapter III ofHegel's Phenomenology of Spirit; and Butler's rhetorical perspective of desire. (shrink)

The cinema has long reigned as the kinetic medium of the twentieth century. Early in itsdevelopment it secured its privilege over the more traditional arts through itsunprecedented control and manipulation of time. In The Great Train Robbery and Life of an American Fireman crowds had theirfirst experiences of film crosscutting between two different spaces and moments in time.1They saw a shot of a raging house fire, and then suddenly a shot of a sleeping firemanin the station. Between these two spaces (...) is a simple cut, and yet here is the preciselocation of a vast frontier: the pleasure of waiting for something forever on the verge ofarrival. This expectation of the event, the catastrophe, and the culmination, is the fuel formodern cinema. The Hollywood tradition has been a developing story of technology’sattempts to exploit this passion, pushing the barriers of how much suspense can beintroduced and resolved within the space of a screen and a segment of time, and in the past thirty years the action film has become one of the most exciting genres, spinning offnumerous subgenres and transforming the industry. (shrink)

The difference between Poe's and [Paul] Valéry's theory of notes—between a theory that emphasizes the nonsensical unpredictability of notes and a theory that discovers in notes the essential logic not only of all reading but of the mind itself—cannot be resolved. To some extent, perhaps, it derives from a conflict between two genres: marginalia, and the marginal gloss. Marginalia—traces left in a book—are wayward in their very nature; they spring up spontaneously around a text unaware of their presence. Nor could (...) they have been considered publishable until the Romantic period had encouraged a taste for fragments and impulses, the suggestive part rather than the ordered whole. Significantly the term was introduced by Coleridge, that great master of the fragment; and Poe himself was the first author ever to publish his marginalia. The charm of such notes depends on their being on the edge: the borders of intelligibility or consciousness . The reader catches an author off his guard, intercepting a thought that may scarcely have risen to formulation. At their best, marginalia can haunt us like a few passing words overheard in the street; all the more precious because the context remains unknown. Lawrence Lipking, professor of English and comparative literature at Princeton University, is the author of The Ordering of the Arts in Eighteenth-Century England and coeditor of Modern Literary Criticism 1900-1970. Some of the material in this article is drawn from a book currently in progress, The Poet-Critics, a study of the relations between poetry and criticism in the work of authors who have excelled in both. "Arguing with Shelly" appeared in the Winter 1979 issue of Critical Inquiry. (shrink)

While executive functions and self-regulated learning strategy use have been found to be related in several populations, this relationship has not been studied in adult online distance education. This is surprising as self-regulation, and thus using such strategies, is very important here. In this setting, we studied the relation between basic executive functions and reported SRL-strategy use within a correlational design with 889 adult online distance students. In this study, we performed regression analyses and took age and processing speed into (...) consideration, as processing speed and EFs decrease with age, whereas self-regulation is reported to increase with age. Cognitively measured working memory was not related to reported SRL-strategy use in adult ODE students. Thus, even though the SRL-components within the strategies seem to elicit working memory, reported SRL-strategy use is not related to the functioning of this basic EF. This means that if SRL-strategy use needs to be increased in adult ODE students, training of working memory might not be an effective manner for achieving that goal. Better shifting and processing speed were related to less reported SRL-strategy use, which might suggest that SRL-strategies might be used to compensate for lower shifting and lower processing speed. With increasing age, the number of contacts with peers or teachers decreases. This latter finding might be of relevance during the pandemic since contacts with others is importance during lockdown. (shrink)

People respond to metaphors as much with regard to the emotions that they generate as to their referential, comparative contents. Interviews with non-geneticists about preferred metaphors for gene-environment interaction that illustrate this tendency are reported. These interviews also reveal the dynamic tendency of such emotional responses. A second set of interviews shows that lay people may preferentially use a metaphor of "virus" or "disease" for talking about genes, as opposed to the coding metaphors transmitted through the mass media and reportedly (...) preferred by geneticists. An explanation based on the differently situated emotions of these groups is proposed. It is proposed that the prominence of emotions in responding to genetics indicates the importance of incorporating analyses of emotions instead of simple principles into policy formulation about genetics. (shrink)

We discuss the implementation of Responsible Research and Innovation (RRI) within a project for the development of an AI-supported exergame for assisted movement training, outline outcomes and reflect on methodological opportunities and limitations. We adopted the responsibility-by-design (RbD) standard (CEN CWA 17796:2021) supplemented by methods for collaborative, ethical reflection to foster and support a shift towards a culture of trustworthiness inherent to the entire development process. An embedded ethicist organised the procedure to instantiate a collaborative learning effort and implement RRI (...) in a translational context. Within the interdisciplinary setting of the collaboration and with the support of a technoethicist, we successfully identified relevant, project-specific challenges and developed a roadmap with derived actions, thus meaningfully integrating RRI into the development process. We discuss the methodological procedure in terms of its effectiveness and efficiency, the allocation of responsibilities and roles, particularly regarding potential frictions in the interdisciplinary context with embedded ethics, and the challenges of the translational context. We conclude that the responsibility-by-design standard effectively established a productive workflow for collaborative investigation and work on ethical challenges. We reflect on methodological difficulties and propose possible avenues to our approach. (shrink)

In the beginning was an aborted word. The first example of a woman’s literary criticism in Western tradition, or more accurately the first miscarriage of a woman’s criticism, occurs early in the Odyssey. High in her room above the hall of suitors, Penelope can hear a famous minstrel sing that most painful of stories, the Greek homecoming from Troy—significantly, the matter of the Odyssey itself. That is no song for a woman. She comes down the stairs to protest. “Phêmios, other (...) spells you know, high deeds of gods and heroes, as the poets tell them; let these men hear some other, while they sit silent and drink their wine. But sing no more this bitter tale that wears my heart away. It opens in me again the wound of longing For one incomparable, ever in my mind— His fame all Hellas knows, and midland Argos.”It seems a reasonable request. But her words meet an immediate brutal rebuff from an unexpected source: her own son Telemachus. “Mother, why do you grudge our own dear minstrel Joy of song, wherever his thought may lead? Poets are not to blame, but Zeuswho gives what fate he pleases to adventurous men.Here is no reason for reproof: to singthe news of the Danaans! Men like besta song that rings like morning on the ear.But you must nerve yourself and try to listen.Odysseus was not the only one at Troynever to know the day of his homecoming.Others, how many others, lost their lives!”9Men like to hear the news; women must learn not to take songs so personally! And Penelope gives in. Marveling at the wisdom of her son, she goes back to her room and cries herself to sleep.Telemachus’ words do not seem very much to the point. Penelope had not asked Phêmios to stop singing, after all, or to sing something fit for women; she only asked him to choose some other adventure. And to reproach her for not considering that others besides Odysseus had failed to come home seems irrelevant as well as cruel. The fact that others feel pain is hardly a reason for her not to feel it. Penelope cannot bear even to name her husband, but Telemachus seems to take pleasure in saying “Odysseus.” By proclaiming his own indifference to pain, he argues just like a man. And that, of course, is the point. The scene has been contrived exactly to show his new maturity. He proves himself no longer a boy in the time-honored fashion, by rejecting any tenderness of heart and by putting down a woman. Henceforth he will be equal to the suitors. Lawrence Lipking is Chester D. Tripp Professor of Humanities at Northwestern University and director of the program in comparative literature and theory. He is the author of The Ordering of the Arts in Eighteenth-Century England and The Life of the Poet, which won the Christian Gauss Award of Phi Beta Kappa in 1982. His previous contributions to Critical Inquiry are “The Marginal Glass” and “Arguing with Shelly” . The present essay was originally given as a lecture at the School of Criticism and Theory in the summer of 1982. It is part of a book, Abandoned Women and Poetic Tradition, which is to appear in 1984. (shrink)

Now Shelly should be allowed a word. The way I have formulated the problem, he reminds me, suffers from glibness if not actual misrepresentation; above all in my tendency to equate artistic ends with artistic conventions. I accuse him of rigidity, yet define the western far more rigidly than he would do, even to the point of suggesting that a novel with real Indians in it would no longer be a western. Generic laws are not so arbitrary. The end of (...) a work of art, as he understands it, cannot be located merely in some set of formal requirements or reproducible actions . We do not make works of art by satisfying a checklist of conventions. Rather, the ends obeyed by a work of art—a concrete whole—derive from the total effect that it tries to achieve. In a well-constructed piece of fiction, every element, including the ethical statements and implied moral judgments, contributes to and is subordinate to that total effect. Hence the seeming contradiction between artistic ends and moral means turns out, on analysis, to be illusory. An artistic end can accommodate any degree of moral complexity, even ethical ambiguities and contradictions, so long as they help shape the whole. Even Blifil could have been a richly complex character, if Fielding had wanted him to be, so long as his complexity had been made functional to the desired effect of Tom Jones. Only incompetent or convention-bound novelists find themselves compelled to make insincere judgments. A good novelist learns to advance his ends by every means, from his most outrageous leaps of the imagination to his most subtle ethical discriminations. If a good novel communicates some tension or internal contradictions, we have no right to conclude that such an effect was forced on the novelist against his will. Perhaps that tension manifests or articulates the author's most sincere and profound moral convictions. Lawrence Lipking, Chester Tripp Professor of the Humanities at Northwestern University, is the author of The Ordering of the Arts in Eighteenth-Century England and coeditor of Modern Literary Criticism 1900-1970. He is currently completing a work dealing with poetic careers, which is to be included in a larger project, The Poet-Critics, and is studying the literary tradition of "abandoned women." His previous contribution to Critical Inquiry, "The Marginal Gloss," appeared in the Summer 1977 issue. (shrink)

Trust is morally basic. It makes cooperation between persons, to whatever degree, possible. In Chapter One, I define trust as being the relation between people bound by genuine goodwill, competency and vulnerability to each other. ;In Chapter Two, I criticize Thomas Hobbes's understanding of society as founded upon a social contract which exclusively self-interested persons have reason to make in order to escape from the state of nature. I argue that on Hobbes's assumptions about the nature of persons, such a (...) contract cannot be viable. Without the assumption that, prior to the contract, persons have some reason to trust one another, no contract can be expected to be made or survive. ;David Gauthier, who presents a contemporary version of Hobbesian social contract theory in his Morals by Agreement, is vulnerable to a similar argument. In Chapter Three, I argue that given Gauthier's description of persons there does not exist the trust necessary to construct, even hypothetically, the social contract. ;Chapter Four examines the very basic role which trust plays in both personal and civic friendship. I argue that trust is what distinguishes "end friendship" from the instrumental friendships in which we are "used" or taken advantage of by others. I discuss civic friendship and argue that the trust which is basic to it, namely social trust, is a form of trust which can exist between people who are otherwise strangers to one another. ;In Chapter Five I go on to prescribe trust. I argue first, that we should never be untrustworthy, as this implies treating people instrumentally, and hence violates Kant's Categorical Imperative. I argue, however, that we should not always trust, maintaining that trust, for normative purposes, is best understood as an Aristotelian mean, and can be described by the extremes of naivete and cynicism and that we should trust in a way which avoids both these extremes. (shrink)