Part of the _Managing in the Early Years_ series, this book provides practical advice about management theory and practice. Tracking the career development of a nursery nurse into a managerial role, this book: Clearly identifies and explains the managerial roles of team leader, senior supervisor, deputy and manager Focuses on the sudden change that takes place as you transcend from colleague to boss Offers advice on what is expected from you as you move into a managerial role provides case-studies that (...) challenge readers to develop their own views whilst learning about management theory gives Links to relevant Early Years management qualification frameworks and the NVQ and Btec National Diploma in the Early Years. Easy to use and apply, this is a must-have for students, assessors, nursery nurses with an interest in career development into management and anyone working within a early-years environment in a managerial role. (shrink)

Tracking the career development of a Nursery Nurse into a managerial role, this book: Clearly identifies and explains the managerial roles of team leader, senior supervisor, deputy and manager Focuses on the sudden change that takes place as you transcend from colleague to boss Offers advice on what is expected from you as you move into a managerial role Chris Ashman is Senior Manager at Bridgewater college, Somerset and has ten years experience teaching childcare and managing. He also writes (...) course content for the FE sector. Sandy Green is an Early Years Consultant and Trainer in south-west England. (shrink)

Lifecycle assessment (LCA) is a valuable tool in teaching green engineering and has been used to assess biofuels, including ethanol. An undergraduate engineering course at Duke University has integrated LCA with other interactive teaching techniques to enhance awareness and to inform engineering decision making related to societal issues, such as energy sources and environmental quality. The course also includes a three-part studio beginning with application of thermodynamics, moving to team projects, and ending with a “green” innovation proposal by (...) each student. Students who participated in this interactive series were able to apply LCA to venues beyond biofuels (e.g., computing and brick making). They were also able to consider societal and geopolitical aspects of complex issues, such as comparing benefits to costs and risks associated with increased production of ethanol on decreased food production and environmental impacts. (shrink)

The Spirit and the Screen explores pertinent pneumatological issues that arise in film and asks how Christian convictions and experiences of the Spirit might shape the way one thinks about films and film-making.

The article focuses on the text of Genesis 1:27-28 within its broader context where the author, the Jahwist, describes humankind as charged with the responsibility to fill and to subdue the earth, which has generally been misunderstood by wealth prospectors. Our methodology is a simplified historical and exegetical study of the two verses of the creation narrative in order to join other contemporary theologians to argue the right of humans to treat the nonhuman as private property as source of material (...) wealth is immoral. As we re-read the text, our findings resonate with the contemporary clarion call for respect and protection of the environment such as COP 2015 in Paris. This provides the justification of our title 'Preaching the green gospel', especially in the Nigerian oil-rich states and in Africa in general. Whilst the paper presents a disquisition of the global efforts of the church through sensitisation of their members to appreciate the magnitude of the environmental pollution and the apocalypse it holds for the world, it draws attention to the possibility of the envisaged doomsday that may descend on Nigeria and other parts of Africa if the crass environmental degradation and the rate of pollution of flora and fauna are not checked. The paper takes cognisance of the positive views expressed by the evangelists of the 'New Theology' in Africa. Whilst the paper raises Biblically friendly ecological awareness in modern Africa, using Nigeria as a contact point, it concludes, inter alia, that the text demands humankind to partake in God's will for order and peace in the universe as it struggles to maintain the ecological sustainability of mother earth. (shrink)

As Early Years care and education comes under closer outside scrutiny the number of practitioners moving into managerial roles is constantly increasing, this book focuses on how to make policy work in practice: clarifying the manager’s responsibilities and his or her duty to lead exploring the use of policy and procedures, why we have procedure, how to create procedures and how to put it into practice offering advice on effective planning, how to monitor progress and activity, and tips on feedback (...) and reflection providing links to Ofsted. This is a must-have for students, assessors, nursery nurses with an interest in career development into management and anyone working within a early-years environment in a managerial role. (shrink)

Heterocyst spacing in blue -green bacteria is widely assumed to be due to a diffusible inhibitor. The inhibitor, a nitrogen-rich compound, probably glutamine, is produced via the N2-fixing enzymes of the heterocyst and in turn serves to suppress the induction of these enzymes and of the differentiation of vegetative cells to heterocysts. This simple morphogenetic mechanism operating in growing cellular filaments ofAnabaena species is investigated on the basis of a continuous and a discrete cellular model, as well as by (...) cell-by-cell simulation of the inhibitor transport. The resulting distances between heterocysts and kinetics of their production are compared with observations, and the values of physical parameters are estimated from the models. (shrink)

COVID-19 is unique in that it is the first global pandemic occurring amidst a crowded information environment that has facilitated the proliferation of misinformation on social media. Dangerous misleading narratives have the potential to disrupt ‘official’ information sharing at major government announcements. Using an interrupted time-series design, we test the impact of the announcement of the first UK lockdown on short-term trends of misinformation on Twitter. We utilise a novel dataset of all COVID-19-related social media posts on Twitter from the (...) UK 48 hours before and 48 hours after the announcement. We find that while the number of tweets increased immediately post announcement, there was no evidence of an increase in misinformation-related tweets. We found an increase in COVID-19-related bot activity post-announcement. Topic modelling of misinformation tweets revealed four distinct clusters: ‘government and policy’, ‘symptoms’, ‘pushing back against misinformation’ and ‘cures and treatments’. (shrink)

This title sees the re-emergence of the seminal 1970s magazine Curtains edited by Paul Buck. With its early promotion of French writers such as Georges Bataille, Maurice Blanchot, Jacques Derrida, Jean-Pierre Faye and Edmond Jabès, Curtains’ re-appearance in 2016 arrives after an exhibition at Focal Point Gallery in 2012 that was recreated from an earlier 1992 work at Cabinet Gallery around the concept of ‘disappearing’. The invited contributions come from thirteen artists with whom the editor has engaged over the years. (...) In addition, Buck has returned to pull threads from the earlier editions of his magazine to explore ideas with writers encountered in the intervening years, making all appear in a consolidated grouping as a final gesture, one that refuses to disappear. Contributions include those by: Kathy Acker, Anne-Marie Albiach, Mireille Andres, Stephen Barber, David Barton, Diane Bataille, Georges Bataille, Mathieu Bénézet, Jean-Pierre Bobillot, Joë Bousquet, Michael Camus, Danielle Collobert, David Coxhead, John Cussans, Tatjana Doll, Jerry Estrin, Ulli Freer, Margarita Gluzsberg, Paul Green, Anouchka Grose, Pierre Guyotat, Susan Hiller, Andrew Hunt, Franz Kamin, Chris Kraus, Liane Lang, Roger Laporte, Francesca Lisette, Lucy McKenzie, Bernard Noël, Hestia Peppe, Holly Pester, Perle Petit, Richard Prince, Pascal Quignard, Clunie Reid, Mitsou Ronat, Claude Royet-Journoud, Eugène Savitzkaya, Will Shutes, Sophie Sleigh-Johnson, Miroslav Tichy, Colette Thomas, Simon Thompson, Sophie von Hellermann, and Gabrielle Wittkop. (shrink)

In Justice and Natural Resources: An Egalitarian Theory, Chris Armstrong proposes a version of global egalitarianism that – contra the default renderings of this approach – takes individual attachment to specific resources into account. By doing this, his theory has the potential for greening global egalitarianism both in terms of procedure and scope. In terms of procedure, its broad account of attachment and its focus on individuals rather than groups connects with participatory governance and management and, ultimately, participatory democracy (...) – an essential ingredient in the toolkit of green politics and policy-making. In terms of scope, because it does not commit itself to any particular moral framework, Armstrong’s theory leaves the door open for non-human animals to become subjects of justice, thus extending the realm of the latter beyond its traditionally anthropocentric borders. I conclude that these greenings are promising, but not trouble-free. (shrink)

"American criminal justice is a dysfunctional mess. The so-called Land of the Free imprisons more people than any other country in the world. Understanding why means focusing on color -- not only on black or white, but also on green. The problem is that nearly everyone involved in criminal justice faces bad incentives. "Injustice for All" systematically diagnoses why and where American criminal justice goes wrong, and offers functional proposals for reform. By changing who pays for what, how people (...) are appointed, how people are punished, and which things are criminalized, we can make the US a country which guarantees justice for all." --. (shrink)

The standard reading of Kant presumes that 'the moral hypothesis' is a necessary and sufficient condition for understanding his philosophy of religion. This paper opens with the assumption -- taken from one of Kant's last works -- that philosophy and theology must always remain in conflict. Then, by way of an abductive comparison of the positions of Ronald M. Green and John Hick, I demonstrate that the moral hypothesis leads to religious compromises that contradict this assumption. To conclude, I (...) argue that the motif of transformation is syptomatic of the underlying problem and suggest that it be replaced by the motif of transition. (shrink)

Until the 1990s environmental non-governmental organizations focused on 'issues' to raise public awareness. Recently it appears that though awareness of environmental problems has increased, the high media profile and superficial 'greening' of politics and business have actually exacerbated people's feelings of helplessness and detachment. Greenpeace UK is currently addressing its strategies to counter this change.

Seminal work in moral neuroscience by Joshua Greene and colleagues employed variants of the well-known trolley problems to identify two brain networks which compete with each other to determine moral judgments. Greene interprets the tension between these brain networks using a dual process account which pits deliberative reason against automatic emotion-driven intuitions: reason versus passion. Recent neuroscientific evidence suggests, however, that the critical tension that Greene identifies as playing a role in moral judgment is not so much a tension between (...) reason and passion, but a tension between distinct forms of deliberative reasoning: analytic versus empathetic. In this paper we present results from several new studies supporting this alternative hypothesis. (shrink)

Michael A. Peters Beijing Normal UniversityDeclinism is back in fashion again. It is now a common and persistent source of historical reflection that has been a constant theme since the first Chris...

High atop cascading waterfalls and deep within the lush green depths of the valleys, Swiss photographer Ruedi Homberger has for more than twenty years captured in photographs the majestic beauty of eastern Alaska's Wrangell Mountain range. In addition to summiting some of the Wrangells' loftiest peaks, Homberger has in recent years incorporated a technically challenging new approach into his work. Flying above the mountains in a small plane, Homberger literally goes to new heights to reveal a series of stunning (...) aerial views. The first book-length collection of photographs focusing exclusively on the Wrangell-Saint Elias National Park and Preserve, My Wrangell Mountains offers readers a rare opportunity to “stand among the giants.” Included in this magnificent oversized volume are nearly three hundred full-color photographs and an accompanying selection of sketches by award-winning illustrator Jon Van Zyle. (shrink)

This stunning paperback volume showcases the winners and best entries for the International Garden Photographer of the Year competition and accompanies a major exhibition at the Royal Botanic Gardens, Kew, in May 2011 and touring the UK and USA thereafter. ‘The contemporary camera maybe a technological marvel but it can’t take photographs, only the photographer can do that. To succeed it involves making an incredible complex of choices and only one chance in the entire history of time to make them (...) as close to perfect as possible. A carefree snap - easy, a composed and considered picture, well, that requires a synergy of skills and perhaps a dash of genius. So that's why this album is such a treat to revel in, its a feast of the worlds best gardens, gardeners, the plants and animals growing and living in them in the very best photographic forms. The images will 'wow' you, make you wish you had been there, wish it was your garden in the picture or wish you had squeezed the button. It’s a testament to a huge array of skills and a catalogue of remarkable beauty’. Chris Packham – BBC Presenter and photographer. (shrink)

Arthur Green is currently Rector of the post-denominational Hebrew College Rabbinical School in Newton, Massachusetts, and has held several distinguished academic and rabbinic positions. A historian and interpreter of the Jewish mystical tradition, he has promoted neo-Hasidism as a contemporary Jewish spirituality.

What happens to the inner light of consciousness with the death of the individual body and brain? Reductive materialism assumes it simply fades to black. Others think of consciousness as indicating a continuation of self, a transformation, an awakening or even alternatives based on the quality of life experience. In this issue, speculation drawn from theoretic research are presented. -/- Table of Contents Epigraph: From “The Immortal”, Jorge Luis Borges iii Editor’s Introduction: I Killed a Squirrel the Other Day, Gregory (...) M. Nixon iv-xi Research Essays The Tilde Fallacy and Reincarnation: Variations on a "Skeptical" Argument Teed Rockwell 862-881 Death, Consciousness, and Phenomenology, Steve Bindeman 882-899 The Idealist View of Consciousness After Death, Bernardo Kastrup 900-909 Consciousness, a Cosmic Phenomenon—A Hypothesis, Eva Déli 910-930 The Theory of a Natural Afterlife: A Newfound, Real Possibility for What Awaits Us at Death, Bryon K. Ehlmann 931-950 Near-Death Cases Desegregating Non-Locality/Disembodiment via Quantum Mediated Consciousness: An Extended Version of the Cell-Soul Pathway, Contzen Pereira & J Shashi Kiran Reddy 951-968 On the Possible Existence of Quantum Consciousness After Brain Death, Massimo Pregnolato & Alfredo Pereira Jr. 969-991 Science and Postmortem Survival, Edward F. Kelly 992-1011 Explorations ISS Theory: Cosmic Consciousness, Self, and Life Beyond Death in a Hyperdimensional Physics, Chris H. Hardy 1012-1035 Does the Consciousness End, Remain Awake, or Transform After Death? Radivoj Stankovich (with Micho Durdevich) 1036-1050 Big Bang Spirituality, Life, and Death, Ken Bausch 1051-1063 Death, Consciousness and the Quantum Paradigm, Ronald Peter Glasberg 1064-1077 Living With Limits: The Continuum of Consciousness, Donald Brackett 1078-1098 Mysticism, Consciousness, Death, Mike Sosteric 1099-1118 What Dies? Eternalism and the Afterlife in William James, Jonathan Bricklin 1119-1140 Theories of Consciousness and Death: Does Consciousness End, Continue, Awaken, or Transform When the Body Dies? Roger Cook 1141-1153 It’s the Other Way Around: Matter is a Form of Consciousness and Death is the End of the Illusion of Life in the World, James P. Kowall & Pradeep B. Deshpande 1154-1208 Statements A Feminine Vision for the World Consciousness, & a New Outrageous Ontology, Lorna Green 1209-1217 The Mask of Eternity: The Quest for Immortality and the Afterlife, Iona Miller 1218-1228 Are We Really “such stuff as dreams are made on”? Chris Nunn 1229-1225 Is the Afterlife a Non-Question? (Let's Hope Not), Deepak Chopra 1226-1230 Life After Death? An Improbable Essay, Stuart Kauffman 1231-1236. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. 13 Stephanie Yingyi Wang When Tongzhi Marry: Experiments of Cooperative Marriage between Lalas and Gay Men in Urban China Ang Lee’s film The Wedding Banquet could be classic introductory material for tongzhi studies and, particularly, for research on cooperative marriage.1 In the film, Wai-Tung, a Taiwanese landlord who lives happily with his American boyfriend Simon in New York, (...) is troubled by his parents’ constant efforts to try and find him a bride. His partner Simon suggests he could arrange a marriage of convenience with WaiTung ’s tenant Wei Wei who is from mainland China and is also in need of a green card to stay in the United States. However, their plan backfires when Wai-Tung’s enthusiastic parents arrive in the United States and plan a big wedding banquet. As the film critic and scholar Chris 1. Tongzhi, literally “same purpose,” is the Chinese term for “comrade.” Since the 1990s, it has been appropriated to replace the more formal tóngxìnglìan (same-sex love) to refer to gay men and lalas (same-sex desiring women) in the Chinese-speaking world. The translation of xinghun as “cooperative marriage” is debatable, as xinghun literally means “pro-forma marriage.” In other works, “contract marriage,” “fake marriage,” or “pro-forma marriage” are used to refer to gay-lala marriage. Informed by Lucetta Kam’s work, I use “cooperative marriage ” to highlight that such marriage is not merely functional without sustenance, but is contingent on the cooperation and negotiation between multiple parties in the relationship, as my findings suggest. See Lucetta Yip Lo Kam, Shanghai Lalas: Female Tongzhi Communities and Politics in Urban China (Hong Kong: Hong Kong University Press, 2013), 85. winner of the 2018 Feminist Studies Graduate Student award 14 Stephanie Yingyi Wang Berry points out, analysis of the film rests not on any individual, but on the Confucian family as “it negotiates the interface with globally hegemonic American culture,” suggesting that there exists an understanding of gayness in the context of the family that is distinct in Chinese culture.2 Berry continues to argue that the moral ambivalence produced by the film is structured by different sets of values: the gay person is not merely concerned about individual identity fulfillment, but he also adjusts his actions to satisfy the family expectation; the parents, especially the father figure, is not merely a patriarch with strict moral provisions and standards, but someone who can allow for implicit negotiation to keep the surface harmony as long as he gets a grandson; the woman is not merely an independent agent freed from social constraints, but a bride who is also attached to emotional comfort and conjugal ideals. Just as The Wedding Banquet tactfully reveals one type of cooperative marriage with its mutual benefits and examines the multilayered complexity of each individual player in the marriage game, this research takes as its subject cooperative marriage between gay men and lalas as an exciting departure to understand queer subjectivities and queer kinship intersected with gender, sexuality, class, and tongzhi politics in urban China.3 Though seemingly monolithic, marriage and family have become contested terrains for tongzhi to negotiate their gender performance, queer desires, and aspirations for better lives. The transnational makings of gayness and rights-based identity politics have contributed to the increasing awareness of a cosmopolitan gay identity and the desiring of alternative life choices of Chinese tongzhi, which lays the very foundation of their motivation to seek ways to cope with the heteronormative family model. Coming out and gay marriage are upheld as primary tropes of identity politics, facilitated by the self-identified tongzhi grassroots groups that emerged during the initiation of AIDS work in 1994 for gay men and at the 1995 Fourth World Conference on Women, which gathered hundreds of lesbians from around the world in Beijing.4 How2. Chris Berry, “Wedding Banquet: A Family (Melodrama) Affair,” in his Chinese Films in Focus: 25 New Takes (London: British Film Institute, 2003), 183. 3. Lala is a slang term in China for same-sex desiring women and includes lesbian, bisexual, and trans women. 4. Katie King, “‘There Are No... (shrink)

While recognising the power and fundamental importance of Wickham’s Framing the Early Middle Ages, this essay explores some of the problems associated with the relative silence within the text about the issue of the forces of production and their development. By contrast, Harman suggests that Wickham’s most important contribution to our understanding of the period, his concept of a peasant-mode of production, is best understood against the backdrop of prior developments of the forces of production. Moreover, the peasant-mode’s temporality is (...) itself best understood against the background of further developments of the forces of production. (shrink)

v. 1-2. Philosophical works.--v. 3. Miscellanies and memoir.

We review Potts’ influential book on the semantics of conventional implicature (CI), offering an explication of his technical apparatus and drawing out the proposal’s implications, focusing on the class of CIs he calls supplements. While we applaud many facets of this work, we argue that careful considerations of the pragmatics of CIs will be required in order to yield an empirically and explanatorily adequate account.

Sciabarra replies to the seven respondents to his Fall 2002 essay on Rand, Rush, and progressive rock music. He defends the view that Rand's dialectical orientation underlies a fundamentally radical perspective. Rand shared with the counterculture—especially its libertarian progressive rock representatives—a repudiation of authoritarianism, while embracing the "unknown ideal" of capitalism. Her ability to trace the interrelationships among personal, cultural, and structural factors in social analysis and her repudiation of false alternatives is at the heart of that ideal vision, which (...) transcends left and right. (shrink)

I argue that it is possible literally to perceive the emotions of others. This account depends upon the possibility of perceiving a whole by perceiving one or more of its parts, and upon the view that emotions are complexes. After developing this account, I expound and reply to Rowland Stout's challenge to it. Stout is nevertheless sympathetic with the perceivability-of-emotions view. I thus scrutinize Stout's suggestion for a better defence of that view than I have provided, and offer a refinement (...) of my own proposal that incorporates some of his insights. (shrink)