El estudio examina mediante una revisión sistemática la literatura científica. La metodología se basó en la aplicación de los principios de la declaración PRISMA. Los resultados indicaron que la mayor producción de estudios fue en 2021, con predominancia de idioma inglés, España como el mayor productor, Reino Unido con el mayor número de revistas y el uso de realidad aumentada como la estrategia más estudiada. La producción científica en educación, y más particularmente en metodologías aplicada a la educación, ha generado (...) una serie de estudios bibliométricos, los cuales han demostrado la evolución de las mismas en lapsos de tiempo diversos. (shrink)

Through the application of machine learning techniques, this paper aims to estimate the importance of messages with ideological load during the elections held in Spain on May 24th, 2015 posted by Twitter’s users, as well as other variables associated with the publication of these types of messages. Our study collected and analysed 24,900 tweets associated to two of the main trending topics’ hashtags used in the election day and build a predictive model to infer the ideological orientation for the messages (...) which made use of these hashtags during Election Day. This approach allows us to classify the ideological orientation of all collected tweets, instead of only tweets that explicitly express their ideological or partisan preferences in the messages. Using the ideological orientation for all tweets predicted by our model, it was possible to identify how messages with a defined ideological load were pushed forward by users with leftist tendencies. We also observed a relationship between these messages and the partisan orientation of those who published them. (shrink)

A notion of truth as applicable to events of assertoric use ( utterances ) of a sentence token is arguably presupposed and required by our evaluative practices of the use of language. The truth of an utterance seems clearly to depend on what the utterance says . This fundamental dependence seems in turn to be captured by the schema that, if an utterance u says that P , then u is true iff P . Such a schema may thus be (...) thought to constitute a suitable basis for an adequate theory of utterance truth, so much so that it seems straightforwardly to avoid the problems arising from context dependence and the semantic paradoxes which notoriously beset theories of utterance truth based on a simple disquotational schema. The paper argues that appearances are deceptive in both cases. On the one hand, the schema cannot allow for plausible if not uncontroversial non-indexical forms of context dependence, arising from the possibility that what an utterance says can be the case or not relative to different situations and that the truth of an utterance u of a sentence φ arguably depends on the truth of φ at the situation "associated" with u . On the other hand, a quantified utterance-truth variation on the liar paradox shows that the schema entails some consequence φ and at the same time the untruth of any utterance of φ; moreover, a resilient quantified propositional variation on the contingent liar paradox is offered, which only relies on resources usually employed by theories of utterance truth based on the schema. (shrink)

Joseph Conrad’s ‘The secret sharer’ has often been associated with what can be called initiation stories. However, in this article I argue that Conrad’s text is more than that. It can, I suggest, be read as an allegory of the inaccessibility to reveal the essence of being in command, being in education, and also the inaccessibility of the essence of the meaning of the text itself. It keeps its secret by allegorically staging alternative readings. This inaccessibility gives rise to a (...) feeling of strangeness, of the uncanny, that must be faced in order to pass through the initiation into the unknown that all the possible allegorical meanings of the text produce. In other words, ‘The secret sharer’ has an educational value that goes beyond the act of merely using it to exemplify a certain type of initiation. In this way I connect Conrad’s text to the themes of strangeness and the stranger and show how they mutually can involve a reading of education and literature as two distinct discourses of learning. (shrink)

Because the investigation of things and the extension of knowledge is a method of thinking, Ch'eng Tzu dealt with it first. In Erh Ch'eng i-shu [Legacy of the Two Ch'engs], section 25, it is said: "The Ta hsueh [Great Learning] states: A thing has its essentials and nonessentials, an affair has a beginning and an end. Knowledge of what is primary and what is secondary approximates the truth." Ch'eng Tzu maintained that the most important thing in study is to (...) know what is essential and what is nonessential - the beginning and the end. The extension of knowledge lies in the investigation of things; it is essential and constitutes the beginning. Governing the world and the state is nonessential and constitutes the end. Chu Tzu [Chu Hsi] said: "Ch'eng Tzu discussed the theory of the investigation of things in detail." But what is the extension of knowledge and the investigation of things? Chu Tzu maintained that "to investigate" [ko] means "to study thoroughly" [ch'iung]; the term "thing" [wu] means "principle" [li]. To investigate the thing is to study its principle thoroughly. A thorough study of principle leads to an extension of knowledge; without a thorough study there can be no extension. Consequently, he thought that the investigation of things is the beginning of truth and that the student who undertakes the investigation of things is already near the truth. Why? Because the student who undertakes the investigation of things can control his mind completely. Although the key to governing the state and pacifying the world lies in the person — as in the saying "governing the world and the state must begin with the person" — one who would govern the state and pacify the world must first cultivate himself. Cultivating the self is the key to governing the state and pacifying the world, and the means of cultivating the self are the investigation of things, the extension of knowledge, sincere thought, and a correct mind. Perhaps the reader will ask, what the relationship is between cultivating the self, on the one hand, and the investigation of things and the extension of knowledge, on the other hand? Cultivating the self belongs to the realm of ethics; investigating things and the extension of knowledge belong to the realm of knowledge. Given the fact that the cultivation of the self belongs to the realm of ethics and the investigation of things and the extension of knowledge belong to the realm of knowledge, how can an intrinsic relationship between these two dissimilar realms develop? We know that Ch'eng Tzu emphasized two kinds of knowledge, moral knowledge and empirical knowledge. He maintained that if there were only empirical knowledge, there would be only the physical person dependent upon external things without knowing truth. Moral knowledge is true knowledge; therefore, it is necessary to transform empirical knowledge into moral knowledge. Only when external, empirical knowledge and internal, moral knowledge are combined is there true knowledge. But how are empirical knowledge and moral knowledge combined? Chu Tzu elaborated on this point. In the collected writings of Chu Tzu there is an explanation of the couplet "Heaven gave birth to the people/There are things and there are laws" from the Shihching [Book of Poetry]: "Ta ya cheng min." Chu Tzu maintained that in the line "There are things and there are laws" from the Shih-ching, the word "thing" [wu] means "form" [hsing] and the word "laws" [tse] means principle [li]. "Form" is a metaphysical concept, and "law" is what is called metaphysics. Man certainly cannot be without this thing, but unless we understand the "principle" of this "thing," we have no way of knowing whether it conforms to the correct form of life or of deciding the appropriateness of the thing. We must, therefore, seek the principle of this thing. But even if we know the thing and seek its principle, we still have not reached "the limits of the thing"; "the principle of the thing" has not been thoroughly studied and our knowledge of it is not complete. Consequently, we must strive "to reach its limits." This is the meaning of the statement:Only by investigating the thing and arriving at the thing itself can the principle of the thing be known completely. When the principle of the thing is known completely, our knowledge of it is extended and focused. Without obscuration, weaknesses and insurmountable barriers, the intention cannot but be sincere and the mind cannot but be up-right. (shrink)

Korea has undergone so much transformation under modernization and industrialization to an extent that tourists visiting from anywhere in the world will not feel inconvenienced for lack of modern facilities. In this modern day and age, it is not easy for foreigners to meet shamans or see shamanistic rituals, even if they try to. The same thing can even be said of educated Koreans. In contrast, shamanists or those attached to shamanism hear shamans perform their rituals anytime and anyplace. (...) There are an estimated 0.2 million shamans in Korea, though the statistics differ according to the researchers’ survey methods. This number surpasses that of all priests of any other established religions. These shamans take their position at the base or margins of Korean society, not readily visible from the surface. (shrink)

Incommensurable theories are said to be both incompatible and incomparable. This is paradoxical, because, being incompatible, these theories must have the same subject-matter, yet incomparability implies that their subject-matter is different. This paper's proposed resolution of the paradox makes use of the distinction between internal subject-matter and external subject-matter for languages as outlined by W. Sellars. Incommensurability arises when two languages share the same external subject-matter but differ in internal subject-matter. When they share the same external subject-matter, they can (...) be inconsistent, and yet incomparable. A substantial part of the paper is devoted to the technical development of the notion of inconsistency as a relationship between languages in contrast to the traditional notion of inconsistency between statements. (shrink)

Vampire stories and folklores have originated from a range of sources; however, it is rather certain that the repulsive but attractive vampiric monster images in present popular culture are primarily derived from Anne Rice’s novel Interview with the Vampire. That being said, it was around the end of the eighteenth century that vampires first invaded the popular literary world, with literary vampires growing noticeably more powerful and perpetual than any of their monstrous predecessors in the years since the publication (...) of John Polidori’s successful short story The Vampyre in 1819. Due to associated aesthetic transformations, vampirism itself has become increasingly popular, to the extent that it now commands some followers who even worship vampiric rituals and lifestyles in spite of there being no solid, physical evidence of actual vampires, but rather only literary and imaginary examples of the creatures. In order to grasp how this fascination with vampires has turned into a quasi-religious phenomenon and ideology, a proper investigation of vampiric mechanisms and aesthetics should be empirical in nature. Utilizing Interview with the Vampire as an example due to its clearly substantial influence on current vampire imagery, this article examines how the paradoxical interchange between aversion and attraction plays its role in the visceral religion of the vampire-immersed world. (shrink)

Incommensurable theories are said to be both incompatible and incomparable. This is paradoxical, because, being incompatible, these theories must have the same subject-matter, yet incomparability implies that their subject-matter is different. This paper's proposed resolution of the paradox makes use of the distinction between internal subject-matter and external subject-matter for languages (frameworks) as outlined by W. Sellars. Incommensurability arises when two languages share the same external subject-matter but differ in internal subject-matter. When they share the same external subject-matter, they (...) can be inconsistent (hence incompatible), and yet incomparable (because they are about distinct internal subject-matter). A substantial part of the paper is devoted to the technical development of the notion of inconsistency as a relationship between languages in contrast to the traditional notion of inconsistency between statements. (shrink)

Nāgārjuna, the famous founder of the Madhyamika School, proposed the positive catuṣkoṭi in his seminal work, Mūlamadhyamakakārikā: ‘All is real, or all is unreal, all is both real and unreal, all is neither unreal nor real; this is the graded teaching of the Buddha’. He also proposed the negative catuṣkoṭi: ‘“It is empty” is not to be said, nor “It is non-empty,” nor that it is both, nor that it is neither; [“empty”] is said only for the sake (...) of instruction’ and the no-thesis view: ‘No dharma whatsoever was ever taught by the Buddha to anyone’. In this essay, I adopt Gricean pragmatics to explain the positive and negative catuṣkoṭi and the no-thesis view proposed by Nāgārjuna in a way that does not violate classical logic. For Nāgārjuna, all statements are false as long as the hearer understands them within a reified conceptual scheme, according to which substance is a basic categorical concept; substances have svabhāva, and names and sentences have svabhāva. (shrink)

Writing in 1284, the Franciscan chronicler Salimbene of Parma said of his Order's former General Minister, Elias of Cortona, that one of Elias's several faults was "that he accepted many useless men into the Order. I lived in the convent of Siena for two years, for example, and I saw twenty-five lay brothers there."2 For Salimbene, to be a layman in religious life was also to be useless.3 The Franciscan movement at its inception was a lay phenomenon, (...) yet its founder's immense popularity attracted large numbers of clergymen as well. The deposition of Elias, himself a layman, by a general chapter of the Friars Minor in 1239 marked a significant turning point in the history of the Order in which the clerical brothers... (shrink)

Over Plato's Academy in ancient Athens, it is said, hung a sign: "Let no one ignorant of geometry enter here." Plato thought no one could do philosophy without also doing mathematics. In The Waltz of Reason, mathematician and philosopher Karl Sigmund shows us why. Charting an epic story spanning millennia and continents, Sigmund shows that philosophy and mathematics are inextricably intertwined, mutual partners in a reeling search for truth. Beginning with-appropriately enough-geometry, Sigmund explores the power and beauty of (...) numbers and logic, and then shows how those ideas laid the ground work for everything from the theory of a fair election, to modern conceptions of governance, cooperation, morality, and even of reason itself. Did you know, for example, that John Locke, author of some of the most important texts in the Western theory of government, was motivated in his work by his study of geometry? Or, that Locke was actually terrible at geometry, a seventeenth-century mathematical laughingstock? He was, a fact that might want us to think again about the logic of his life's work. And Locke wasn't the only one! Sigmund reveals how many of our modern ideas about what is true and what is reasonable are based on similarly shaky grounds. The economists and other thinkers who promulgated game theory, classical economics, and behavioral economics-the basis of so much in modern life-were not necessarily good at either math or philosophy, or both. The result is a remarkable book: accessible, funny, and wise, it tells an engrossing history of ideas that spins as dizzyingly and beautifully as a ballroom full of expert dancers. But it doesn't just celebrate the past. Instead, by making all these great ideas accessible to all, The Waltz of Reason empowers as it entertains, giving each of us the tools to ask, what do we know, how do we know it, and what do we want to do, with all these ideas? (shrink)

Traditionally, definitions of art have been concerned with the characteristics of the art object, the process of its creation or the reactions to it. in this paper i suggest to concentrate on the circumstances of the object's existence and the process by which it comes to exist. these circumstances, which differ in different periods and in different societies, are: (a) it's being declared, either by the artist, or by an exhibition catalogue, or by a collector, or by an art expert, (...) that x is art; (b) it's being understood that the said object in a museum, gallery, concert-hall, living room, is located or arranged or hung in such a way as to indicate that it is being exhibited as a work of art; (c) the said object's resembling objects previously recognized as being works of art; (d) the said declaration, referred to in (a), being made in the proper media--those recognized as having authority in the realm of art. (edited). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Math Anxiety:Making Room to BreatheValerie Allen (bio) and Todd Stambaugh (bio)"Don't do that to me, Professor," the student said, and everybody laughed, for by this late in the semester, the atmosphere was relaxed. The instructor in question had just reached the point in a worked problem when they could move from reasoning about specific numbers to stating a general principle: x≤y≤z, meaning that y—the value we sought—was always (...) going to be greater than or equal to one value (x) and less than or equal to the other (z). The student who had spoken had earned everyone's affection over the weeks, open about their difficulties with math, ready to risk being wrong, and to ask obvious questions that others may have been reluctant to owning. They had hung in there, despite presenting a classic case of math anxiety, a syndrome long recognized in the scholarship of teaching and learning.Among math anxiety's many symptoms, breathing disruption ranks high: hyperventilation (rapid breathing) and hypoventilation (barely or not breathing). When the energy-conserving parasympathetic nervous system is overtaken by the energy-expending sympathetic nervous system, the long exhalations that decelerate the heart rate are replaced by short, panting puffs from the upper lungs. The timed test provides the perfect environment for math anxiety to flourish. Stress diverts cognitive resources needed for procedural execution, so working memory consequently shrinks.Self-rated metrics for math anxiety have been in place for decades (Richardson and Suinn). Relatively trivial interventions can yield nontrivial results: deep breathing exercises and positive affirmations have a beneficial impact, as does writing about one's nerves immediately prior to an exam (Brunyé et al.). More systemic changes require a reorientation in teaching whereby conceptual mistakes are positively rewarded as opportunities for learning; students compose questions instead of answers; students solve problems together rather than perform solo (Boaler).Return now to that opening scenario to watch it become stereotype incarnate: the student was mature, Black, and female; the teacher, younger, white, and male; her comment was triggered by his shift from a specific [End Page 217] set of numbers into symbolic notation. There is robust evidence to demonstrate that certain demographics are consistently underrepresented in the U.S. math community: women and "African-Americans, Hispanics, American Indians, Alaska Natives, and Pacific Islanders," according to the Mathematical Association of America (MAA) ("Resources for Minority"). Routinely feeling that they do not belong, such groups are particularly vulnerable to math anxiety.Several remedies for such disparity suggest themselves: appointing more women and people of color in the profession; one-on-one tutorial assistance; research projects about the students' personal environment; privileging pre-test, low-stakes work over timed tests; assigning group rather than individual work. When all is said and done, however, such strategies "have little to do with mathematics content" (Martin 304). Mathematicians still need to be able to conceptualize, describe, and manipulate abstract objects, and there seems to be a suspicion that, at heart, abstraction is gendered masculine and colored white.It is possible that the rhetorical immediacy and context-dependence of Black English has misguidedly reinforced such a perception. For poet June Jordan, Black English "devolves from a culture that abhors all abstraction" (Jordan 367). Psychiatrist Alvin Poussaint asks, "Is there a way to say metamorphosis in Ebonics?" (O'Malley). Yet, despite Black English's avoidance of nominalization and similar verbosities that afflict academic prose, abstract logical reasoning flourishes in vernacular idiom, as linguist William Labov demonstrated half a century ago. Our aim is not to explain the asymptote in Black English but rather to consider a feature characteristic of those very minority cultures historically underrepresented in math—storytelling—and to ask how it may be foregrounded in mathematics, where it is decisively sidelined. Storytelling has been claimed by every culture and ethnic group at some point as the repository of wisdom, practical skills, religious beliefs, and shared identity and values; but when it gets corralled into the category of "fiction," and when it gets opposed to "fact," a narrowed concept of truth dispatches storytelling to kindergarten and recreational math. Word problems may supply scenarios but offer none of a plot's satisfactions... (shrink)

Some things are _about_, or are _directed on_ , or _represent_, other things. For example, the sentence 'Cats are animals' is about cats (and about animals), this article is about intentionality, Emanuel Leutze's most famous painting is about Washington's crossing of the Delaware, lanterns hung in Boston's North Church were about the British, and a map of Boston is about Boston. In contrast, '#a$b', a blank slate, and the city of Boston are not about anything. Many mental states and (...) events also have "aboutness": the belief that cats are animals is about cats, as is the fear of cats, the desire to have many cats, and seeing that the cats are on the mat. Arguably some mental states and events are not about anything: sensations, like pains and itches, are often held to be examples. Actions can also be about other things: hunting for the cat is about the cat, although tripping over the cat is not. This -- rather vaguely characterized -- phenomenon of "aboutness" is called _intentionality_. Something that is about (directed on, represents) something else is said to "have intentionality", or (in the case of mental states) is said to be an "intentional mental state". (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bucky Flies, Almost!Govinda SrinivasanOne day Bucky the monkey saw birds high up in the sky. He was looking at the Harpy Eagle soaring beautifully in the sky. He wished he too could fly like that. He knew how to get to the top of the canopy, but then how to fly free in the sky? That was the great problem. Click for larger view View full resolution[End Page 109]Now (...) he looked at himself and said, “I don’t have any wings. But I do have a tail for balance.” He wagged his tail with joy. “Now how do I get wings?” He looked at the whole upper canopy. He saw some huge leaves of the teak tree. He took eight leaves, two for each limb. He tied the leaves to his arms and legs. Crossy-Cross. He felt panic and excitement. Bucky flapped his arms and leapt into the sky. Click for larger view View full resolution Click for larger view View full resolution[End Page 110]The birds looked at him from the sky. Bucky flew for a quarter of a minute and then... “Aaaaaaaaeeeh! Click for larger view View full resolutionEeeeeeeeeh! Oooooooh!” cried Bucky as he desperately caught hold of a branch and hung on to it. The branch creaked and broke. Bucky was much too heavy.[End Page 111] Click for larger view View full resolutionLucky Bucky. He fell through the canopy into the swamp. “SPLASH!” A Manatee took him back to the bank. Bucky said, “Thank you!” in a dizzy tone. He did not give up though. Click for larger view View full resolution[End Page 112]Next time he tried something different. He made friends with the Harpy Eagles. He asked four of them to carry him up in the sky and leave him high in the sky.Bucky then started flapping his leafy wings. The leaves tore away. “Aaaaah! Eeeeeh! Oooooh!” again. One of the Harpy Eagles was swift and it swooped down and held Bucky by his tail just as he was about to crash into the canopy. “Thank God!” said Bucky. “No, No, Thank you, Harpy,” Bucky corrected himself. Click for larger view View full resolution[End Page 113]Professor Beaver was watching, and so were all the students in his class. All the animals in the Amazon Rainforest saw Bucky. Then two Weaver birds came and told Bucky, “We can help you stitch big wings.” Then the beavers came and said, “We will help you build a big yet light frame for the wings.” They began working as a team. All kinds of spiders came and shared their super-strong silk threads. Click for larger view View full resolution[End Page 114]Soon the forest was humming with activity. Bucky got a pair of wings. Then he asked for advice from the birds. The Tawny Owl said, “You know, Bucky, why don’t you try to glide first. You can learn it from the Flying Squirrels.” Bucky said, “What a great idea! I can learn to fly from a fellow mammal.” Click for larger view View full resolution[End Page 115]Bucky went in search of the squirrels dragging his wings along. He searched all day, but the Flying Squirrels were not to be found. “Well, Bucky, Flying Squirrels are nocturnal. You will have to wait until dark,” said the Tawny Owl. “OK! I shall wait then,” said Bucky. Click for larger view View full resolution[End Page 116]At night, the Flying Squirrels came out and started flying from tree to tree. Bucky begged them to teach him how to fly. They said, “We don’t fly. We glide. We are called Flying Squirrels, but we don’t fly.” “Oh! Dear! Let me learn to glide then. Gliding is surely better than falling like a rock,” said Bucky. He climbed to the top of trees with the squirrels and jumped across just like them. They glided to the tree trunks far far away.But Bucky fell yet again with a big thud, and a bigger scream. “Aaaah! Eeeeeh!! Ooooooh!!!” He woke up the whole forest in the middle of the night. The animals were... (shrink)

A provocative critique of Western attitudes about the Orient, this history examines the ways in which the West has discovered, invented, and sought to control the East from the 1700s to the present.

So far my examples have illustrated purely descriptive and evaluative uses of "work of art," but my main claim is that most uses are not pure. Take a controversial example. Christo recently hung a huge, bright orange curtain between the sides of a canyon in Rifle Gap, Colorado. The curtain stretched all the way across the canyon, filled the canyon from top to bottom, and had a hole cut out for the road at the base of the canyon to (...) pass through. There was a good deal of controversy in Colorado at the time about whether the curtain was a work of art. . . . First, the curtain was not in a traditional medium, and this alone was enough to disqualify it as a work of art for some people. Still, it was an artifact, it was intended for public observation and contemplation, and it had no essential utilitarian function. That it met these criteria there could be no doubt, and this was enough for some to consider it a work of art. Others, however, required more before deciding. Of those, some said that a great deal of skill was required to produce it; that it definitely had significant formal qualities—especially the dramatic contrast in line and color between it and the completely natural surroundings; that it was certainly a creative endeavor; and that it was most conducive to aesthetic experience—comparable to certain natural phenomena. For these people it was, without a doubt, a work of art for both descriptive and evaluative reasons. Others, however, were much less charitable. They thought that if the production required skill at all, it was engineering not artistic skill; that not only did it not have significant formal qualities, it was formally trivial and sterile; that perhaps it was novel, but to call it creative was beyond the pale; that far from being conducive to aesthetic experience, it was a blight upon the landscape. Therefore, it was not a work of art. Finally, there were those people who were not sure which characteristics to attribute to the Christo production and were therefore uncertain whether it was a work of art. Robert McGregor is an associate professor of philosophy at the University of Denver and is the author of several articles on aesthetics. See also: "Christo's Gates and Gilo's Wall" by W. J. T. Mitchell in Vol. 32, No. 4. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gethsemani II:Catholic and Buddhist Monastics Focus on SufferingThomas Ryan, CSPApproximately twenty Benedictine, Trappist, and Camaldolese men and women monastics met 13-18 April 2003 with an equal number of Buddhist monastics at the Trappist Gethsemani monastery in Kentucky for five days of dialogue on the causes of suffering. The encounter, Gethsemani II, was a sequel to a similar 1996 meeting at the monastery made famous by the monk Thomas Merton, (...) a noted twentieth-century contemplative and peace activist who died in 1968. Merton's friendship with the Dalai Lama served as seminal inspiration for these two Buddhist-Christian dialogues. In a ritual at the opening of the Gethsemani II meeting, the participants, joined by a few advisors and observers to the dialogue, hung a wreath of flowers around the cross marking Merton's grave.Each day speakers from both sides initiated a conversation on a particular cause of suffering, such as greed and consumerism, personal and structural violence, sickness and aging. "I do not do well at conferences, and I came prepared to be bored," said John Daido Loori, abbot of the Zen Mountain monastery in Mt. Tremper, NY, on day three, "but the level of honesty and depth of sharing in these exchanges has ripped open my heart." It is not possible in this forum to synthesize the penetrating reflections and stories on suffering offered by the participants. What may be even more important is the window offered by this dialogue into the dynamics of interfaith encounter no matter where it takes place.By sharing times of prayer, talk, meals, and rituals appropriate to each tradition, the participants became friends. They came for one thing—to talk about suffering—and in the process found another: an experience of community. They began each conversation with the musical and meditative interlude of a recorder, but the openness and sensitivity of the conversation itself became the real music. They didn't solvea single problem, but they kindled a vital force—friendship—with which to confront problems together in the future. Each brought passion for their own tradition, the gospel on the one hand and the dharma on the other, and each ended by recognizing in the other a powerful resource for healing the world.Evident in this dialogue was the emergence of a Euro-American Buddhist voice, deeply respectful of the Asian tradition inherited, yet willing to think creatively about possible bridge points of understanding, of comparison, of ways of reformulating set [End Page 249] patterns of saying things so as to better get at possible common meanings. One example of this will suffice. Suffering is at the heart of the Buddha's teachings in the Four Noble Truths, the first teachings he gave after his experience of enlightenment. First, all existence is dukkha, unsatisfactory and filled with suffering. Second, dukkha arises from tanha, a craving or clinging, which means a constant effort to find something permanent and stable in a transient world. Third, dukkha can cease totally, and this is nirvana. Fourth, this can be reached by following the Eightfold Path described as "right" or samma: right understanding, right directed thought, right speech, right action, right livelihood, right effort, right mindfulness, right concentration. In short, the first three wisdom sayings relate to the existence, the cause, and the cessation of suffering. The fourth offers a clearly laid out plan for liberation from suffering.The Christian approach could be typified in Pope John Paul II's 1984 Apostolic Letter "On the Meaning of Christian Suffering," which was distributed to all the participants. In reflecting on Jesus nailed to the cross, the pope observes that "in this weakness there is accomplished his lifting up, confirmed by the power of the resurrection. This means that the weaknesses of all human sufferings are capable of being infused with the same power of God manifested in Christ's cross. In such a concept, to suffer means to become particularly susceptible, particularly open, to the working of the salvific powers of God offered humanity in Christ. In him God has confirmed his desire to act especially through suffering... and wishes to make his power known precisely in this weakness and emptying of self" (p... (shrink)

In lieu of an abstract, here is a brief excerpt of the content: The Portrait of a Miniature Giant PAUL BAROLSKY There was a time when the art of the sixteenth -century Florentine painter Agnolo Bronzino was reviled for its aesthetic excesses. Writing in his classic “The Cicerone: An Art Guide to Painting in Italy,” the great nineteenth -century scholar Jacob Burckhardt wrote that “as an historical painter,” Bronzino must “be placed among the Mannerists,” a judgement equivalent to placing him (...) in an art historical hell. But, Burckhardt added, “as a portrait painter, he is inferior to none of his contemporaries, not even the Venetians.” Given the fact that among the Venetians, Titian is one of the great portrait painters, this is astonishingly high praise. Nowadays, it is not uncommon for art historians, appreciating Mannerism, to celebrate the elegance and preciosity of Bronzino’s exquisite portraits. Of all Bronzino’s portraits, that of the dwarf Morgante is one of the most beguiling. It is distinctive in so many ways. This picture is the subject of a remarkable book by the Israeli art historian Sefy Hendler, Gracious and Beautiful Monster : The Literary Universe of Bronzino’s Nano Morgante, which is an exceptional piece of scholarship. Different aspects of his book have influenced various scholars who have written about the picture and who have fruitfully exploited its various details. What needs to be appreciated, however, is the way in which this book brings out the extraordinary synthetic character of Bronzino’s strange painting and the diarion 28.3 winter 2021 Sefy Hendler, Gracious and Beautiful Monster: The Literary Universe of Bronzino’s Nano Morgante, Maschietto Editore, 2016. 158 the portrait of a miniature giant versity of ways in which it belongs to the courtly culture in which it was painted. The beauty of Hendler’s seemingly all-encompassing book is that it tells a fascinating and highly entertaining story with admirable brevity in just over seventy pages. Hendler, who packs a great deal of deeply absorbing information and insight into his slim and learned volume, is sensitive to the sentiment of Peter Whiffle’s well-known dictum: “You cannot begin not to tell until you know more than you are willing to impart.” Hendler’s exquisitely concise story concerns a favorite dwarf of Duke Cosimo de’ Medici, one Braccio di Bartolo in Poggio di Fornione, who flourished at the ducal court in the middle years of the sixteenth-century. Bronzino painted the dwarf for the Duke in 1552. His sometime rival, Giorgio Vasari, painter, architect, and biographer, described the picture as “beautiful and marvelous” in his Lives of the artists. The painting is double-sided, featuring a frontal view of the naked dwarf on the recto of the canvas (fig. 1) and a rear view of the dwarf, similarly exposed on the verso (fig. 2), where the dwarf’s backside dominates the composition. (We might well observe here that Bronzino specialized lasciviously in painting the culo (witness the coy Cupid in his famous Venus, Cupid, Folly, and Time). It is therefore not surprising that the anatomical backside rendered over and over again in Italian Renaissance art, with all its connotations, sexual and otherwise, has recently been the subject of a considerable body of scholarship. Hendler, himself writing on various writers of the period, offers little hints into the psycho-sexual dimension of Bronzino’s picture. Its depiction of so many birds leads inevitably to a consideration of the word “bird” in its sexual dimension. Enough said. If Morgante’s posterior is manifest on the verso, the recto of the painting has its own special interest. A butterfly flies by the dwarf directly and conveniently in front of his genitals—a coy if not teasing gesture of decorum. The portrait once hung in the Palazzo Vecchio, which had become a ducal residence. In recent years it has moved around quite a bit, settling in the Galleria Palatina of the Palazzo Pitti, once a ducal residence. Vasari’s description of the picture is not without a certain iro- Paul Barolsky 159 ny, since the beautiful form of the painting as painting stands in opposition to the less than beautiful dwarf. The writer Anton Francesco Grazzini captured this paradox in his poem on the occasion of the death... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Decade of Teaching Classics in a Massachusetts Prison CHARLES ROWAN BEYE From 1972 until 1982, I volunteered as a teacher in a degree-granting program of liberal arts at the college level in Norfolk State Prison, a medium security prison in Walpole, Massachusetts. Medium security means that the men were not confined to their cells except when there were routine security checks, such as taking attendance which occurred several (...) times a day, or at night when there was a lights-out policy, or whenever the surveillance system of the prison went on alarm. Other than that, the men could work in various shops, or in the prison garden, or, among other things, they could take classes. The men who were incarcerated at Norfolk had been determined not to pose too great a threat to the other inmates, nor to be liable to try to break out in escape attempts that would damage others; the more intractable men were in the maximum security prison down the road, confined to their cells. There had always been shop classes or other kinds of instruction which would train the men into skilled manual labor. I taught in a program that was radically different. It was the dream of an extraordinary woman named Elizabeth Barker who was an old fashioned lefty, a woman of the old money Brahmin class of Boston society, who like so many of her kind had no money any longer, the only indication of her social status being a marbles-in-the-mouth accent, an indifference to money, clothing styles, social distinction, and an arrogance that made her assume that the rest of the world hung on her every word. She was the soul of kindness and generosity, one of the few persons I have met who deserved the accolade of a “true Christian,” although she was insisarion 26.3 winter 2019 tent upon proclaiming her militant atheism. She was also a tremendous bore. I once had the misfortune to drive her back from the prison to Boston. Talking incessantly, in a kind of monotone, relentlessly insisting upon a position that I had agreed with when we started the drive, it was all I could do after a half hour to keep from reaching over, opening the door, and pushing her out. But, God love her, she performed a miracle at Norfolk. Mrs. Barker subscribed to a belief that I soon adopted once I started teaching in her program which was that all people, apart from outright psychopaths, are redeemable, that a teaching relationship offers compassion, instruction, and most of all, a belief in the student, that in itself redeems the student, in this case, the prisoner, from self-hatred, lack of esteem or purpose, and general despair. Conventionally, prisons are run on a mixture of punishment and rehabilitation. At the crudest level you have the concept of solitary confinement, then there is the idea of “at hard labor” where prisoners spend their days breaking rocks under supervision, or as in England at the turn of the century, spending the entire day walking endlessly up a revolving drum with stairs. The lightest so-called punishment is simply the fact of incarceration. The theory is that if you are confined to a prison for so many months, years, the horror of this endurance makes you into a better person because you have had time to realize that you don’t want this to happen again. Relatives of a criminal’s victims are often on hand at parole board hearings because they want the sentence to go on longer, for the prisoner to “suffer more.” Rehabilitation, on the other hand, usually involves teaching skills, on the most basic level, reading and writing, then woodworking, metal work, car repair, on the theory that many males commit crimes because they have no legitimate way to earn money in our economy. Mrs. Barker saw a higher kind of rehabilitation that led into her notion of redemption. The liberal arts, art, music, literature, philosophy, science were in her mind the nourishment of the soul without which no one can truly be said to live. The idea, as you can imag2 a decade of teaching classics in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina Reza, "Sunday (...) in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:My StoryDawn Ruggeroli–CollinsMy story starts on October 17, 1981. I was 17–years–old and was riding home from a night with friends at the Roundup Rodeo in Simonton, Texas. The girl who was driving was a friend of a friend, so unfortunately I did [End Page E5] not know her well enough to realize that she was drunk. I have very little recollection of the accident, nor of the few (...) days that followed. However, I do recall being very aware that I was paralyzed.For some reason, I had for the previous few years been reading books by women who had spinal cord injuries as a result of some type of accident. I read Joni Eareckson’s book “Joni” and “The Other Side of the Mountain” about Jill Kinmont, and saw the movies about both women. Additionally, my mother bought me “Karen,” and “With Love, from Karen” the story of Karen Killalea, who has cerebral palsy. It seemed to me that reading these books prepared me for dealing with my disability in a positive way rather than “woe is me.”I’m actually one of the luckiest people you’ll ever know! While I have a C–4/C–5 SCI, it is pretty incomplete and as a result I’m pretty mobile. I wear an ankle–foot orthotic (AFO) on my right foot and use a cane. I do have Brown–Séquard syndrome, with better sensation on my right side and better function on the left. So, I was right–handed the first 17 years of my life and I’m now a leftie.A couple of days after my accident, while I was still in the intensive care unit (ICU), one of the nurses felt that it was important for me to realize that I would probably be paralyzed for the rest of my life; never to walk again. So she took it upon herself to deliver this message personally. Well, I wasn’t having any of that! I yelled and screamed and threw the biggest tantrum that one can throw while one’s head is clamped down by Gardner–Wells tongs. Given how well I have recovered, I have often thought how it would be to find Judy, walk up to her, and ask if she remembers me.My dad has often told me that he thinks I went through the grieving process pretty quickly after my accident. It wasn’t always easy, and I did have my down moments, but for the most part I think he’s right. I’ve always been a positive person and that helped get me through this and many other trying times in my life. I think at the time I also had a fear that no one would want to be around me if I was stuck in a wheelchair and was a Debbie Downer. I was only 17 after all.When I went away to college I was still mainly using a wheelchair. When I told a friend that I didn’t want to be in a dorm with all of the disabled students, she laughed and asked me why I didn’t want to be with “my people.” Aside from playing some wheelchair basketball, I had never really hung out with other people with disabilities. I was briefly involved with a disabled support type of group but many of them had really negative attitudes. I didn’t stick around for very long after I learned that one of the guys said to one of the women that she would be really attractive if it weren’t for “that wheelchair.” This coming someone in a wheelchair himself!During my second year at Michigan State I had my first realization that people don’t just see me as someone with a disability. A friend was talking with an acquaintance from the other side of our dorm and she mentioned me. The acquaintance said “oh, Dawn in the wheelchair?” and her response was “yeah, I guess she is in a wheelchair.” When she relayed this conversation to me later I was really moved that she didn’t see me as someone in a wheelchair first... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 143-145 [Access article in PDF] Catholic and Buddhist Monastics Focus on Suffering Thomas Ryan Paulist Office for Ecumenical and Interfaith Relations Approximately twenty Benedictine, Trappist, and Camaldolese men and women monastics met from April 13-18 with an equal number of Buddhist monastics at the Trappist Gethsemani monastery in Kentucky for five days of dialogue on the causes of suffering. The encounter, Gethsemani II, was a (...) sequel to a similar 1996 meeting at the monastery made famous by the monk Thomas Merton, a noted twentieth-century contemplative and peace activist who died in 1968. Merton's friendship with the Dalai Lama served as seminal inspiration for these two Buddhist-Christian dialogues. In a ritual at the opening of the Gethsemani II meeting, the participants, joined by a few advisors and observers to the dialogue, hung a wreath of flowers around the cross marking Merton's grave.Each day speakers from both sides initiated a conversation on a particular cause of suffering, such as greed and consumerism, personal and structural violence, sickness and aging. "I do not do well at conferences, and I came prepared to be bored," said John Daido Loori, abbot of the Zen Mountain monastery in Mount Tremper, New York, on day three, "but the level of honesty and depth of sharing in these exchanges has ripped open my heart."It is not possible in this forum to synthesize the penetrating reflections and stories on suffering offered by the participants.What may be even more important is the window offered by this dialogue into the dynamics of interfaith encounter no matter where it takes place.By sharing times of prayer, talk, meals, and rituals appropriate to each tradition, the participants became friends. They came for one thing, to talk about suffering, and in the process found another: an experience of community. They began each conversation with the musical and meditative interlude of a recorder, but the openness and sensitivity of the conversation itself became the real music. They didn't solve a single problem, but they kindled a vital force—friendship—with which to confront problems together in the future. Each brought passion for their own tradition—the gospel on the one hand and the dharma on the other—and each ended by recognizing in the other a powerful resource for healing the world.Evident in this dialogue was the emergence of a Euro-American Buddhist voice, [End Page 143] deeply respectful of the Asian tradition inherited, yet willing to think creatively about possible bridge points of understanding, of comparison, of ways of reformulating set patterns of saying things so as to better get at possible common meanings.One example of this will suffice. Suffering is at the heart of the Buddha's teachings in the Four Noble Truths, the first teachings he gave after his experience of enlightenment. First, all existence is dukkha, unsatisfactory and filled with suffering. Second, dukkha arises from tanha, a craving or clinging, which means a constant effort to find something permanent and stable in a transient world. Third, dukkha can cease totally, and this is Nirvana. Fourth, Nirvana can be reached by following the Eightfold Path described as "right" or samma: right understanding, right directed thought, right speech, right action, right livelihood, right effort, right mindfulness, right concentration. In short, the first three wisdom sayings relate to the existence, the cause, and the cessation of suffering. The fourth offers a clearly laid-out plan for liberation from suffering.The Christian approach could be typified in Pope John Paul II's 1984 Apostolic Letter "On the Meaning of Christian Suffering," which was distributed to all the participants. In reflecting on Jesus nailed to the cross, the pope observes that "in this weakness there is accomplished his lifting up, confirmed by the power of the resurrection. This means that the weaknesses of all human sufferings are capable of being infused with the same power of God manifested in Christ's cross. In such a concept, to suffer means to become particularly susceptible, particularly open, to the working of the salvific powers of God offered... (shrink)

The topic of The Prophets' Languages has led to a broad interest due to the sacred status of the Prophets. It has been of interest to people of all religious and social orientations. Despite the complexity of this topic and the necessity of studying it from various aspects such as archaeology and the study of ancient calligraphy, we limited our study to Islamic sources and references only. We extrapolated what was mentioned in these books. Other than the Holy Qur’ān, it (...) will be concerned with books of interpretation, history, biography, hadith, its explanations, language books, etc. This study has been divided into three main points, an introduction, and a conclusion. The first point dealt with the origin of the languages spoken by the Prophets (peace be upon them) and their proximity to each other: Syriac, Coptic, Hebrew, Aramaic, and Arabic. All of these languages belong to the Semitic language. In terms of their convergence and similarity with each other, some linguists considered it dialects of one language, the Semitic language of origin. It has branched out from it as a result of the expansion, development, and development of life. Looking at today, the dialects of the Arabs in Egypt, Morocco, Jazira, the Levant, and Iraq, each branched out and most of it emerged from the mother tongue Arabic. There is a discussion among researchers on which of the languages are closer to the Semitic language. Four languages are listed as possibilities: Hebrew, Babylonian, Assyrian, Syriac, and Arabic. The truth is that it is not easy to get to know the origin of the Semitic language, and everything that has been said is not outside the circle of speculation because of the loss of definitive evidence and the temporal dimension. As for the second point, this study investigated the linguistic geography that the Semitic language covered and spread in, by tracking the people who spoke the Semitic language, their places of residence, and their influence, as all of them settled in the Near East and its vicinity. If we look at the Semitic language, with its eastern and western branches, we see that it was concentrated in Babylon, Assyria, Mesopotamia, Arabia, Yemen, the Levant, and Jerusalem regions, and among the most famous tribes and nations that settled in this region are Saba, Himyar, Ad, Thamud, Jirhm, Samaria, Nabat, the people of Palmyra and others. Mostly likely, the Arabian Peninsula is the cradle of the Semitic people, although some say that Abyssinia was the cradle of the first Semites. In the third point, the number of prophets and messengers mentioned in the Noble Qur’ān was enumerated in clear terms. Among the twenty-five prophets are the following: Adam, Idris, Noah, Hood, Saleh, Lot, Ibrahim, Ismail, Ishaq, Jacob, Yusef, Shuaib, Ayyub, Dhu al-Kifl, Yunus, Moses, Aaron, Elias, Al-Isa, David, Solomon, Zakaria, Yahya, Jesus, and Muhammad (peace be upon them). The study of this point came by following the inductive and deductive approach, whereby the first approach is based on extrapolating the life of each prophet in isolation from others in detail, tracing his life, place of living, and residence, whom he married etc. The deductive method relied on deducing the language that each of the prophets (peace be upon them) spoke. Some prophets mentioned the name of the language in which he spoke in the Islamic sources. This study concluded that of the prophets mentioned in the Noble Qur’ān, seven of them spoke the Syriac language, three of them spoke the ancient Egyptian language (Coptic), eighteen of them spoke the Hebrew language, three of them spoke the Aramaic language, and nine of them spoke in Arabic. Some of the prophets spoke one language while others spoke more than one language due to their numerous travels and the people they interacted with. This study is considered a preliminary study to open the field for in-depth studies for researchers in this field, and every part mentioned in this research is suitable for being an independent scientific study in its own right. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Freud between Oedipus and the Sphinx MIRIAM LEONARD Areproduction of Jean-Auguste-Dominique Ingres’s neo-classical painting Oedipus and the Sphinx famously hung over Freud’s couch in his consulting room at Berggasse 19 [figure 1]. Nobody doubts the significance of the figure of Oedipus to the development of Freud’s thought, arion 28.3 winter 2021 Jean-Auguste-Dominique Ingres, (1780–1867). Oedipus and the Sphinx, 1808. Oil on canvas. Photo Credit : Scala/ Art Resource, (...) NY. 132 freud between oedipus and the sphinx but the presence of the Sphinx in this picture raises a series of questions about Freud’s interests which have not been as extensively explored. Indeed, this is far from being the only depiction of the Sphinx which graced Freud’s study. A large etching of the Sphinx at Giza was displayed amongst his bookshelves and a terracotta figurine was amongst his most prized objects.1 These representations of the Sphinx testify to Freud’s broader fascination with Egyptian culture—a fascination which, as we have seen, manifests itself both in his writings and his collection of antiquities. Judith Butler and George Steiner have wondered: “what would happen if psychoanalysis were to have taken Antigone rather than Oedipus as its point of departure?”2 I want to reformulate their question to ask, what would happen if Freud had taken the Sphinx rather than Oedipus as his point of departure? With this counterfactual, I hope to deepen the exploration already undertaken in the previous two articles about Egypt as an origin myth for psychoanalysis—an origin both for the development of the self and for the history of humanity. One possibility, suggested by Edward Said in his last work, Freud and the Non European, is that Freud’s turn to Egypt opened psychoanalysis to a less Eurocentric perspective. For Said, Freud’s foregrounding of Egypt and his interest in the crossover of “non-European” and “European ” cultures testified to his openness and his frustration with the nationalist and racist theories which were so prevalent at the end of his life.3 Said’s claims are compelling but as he would have been the first to note, Freud’s Egyptomania could equally be captive to orientalizing fantasies.4 In what follows I trace the evidence for Freud’s fascination with Egypt and, reading it hieroglyphically (as he would invite us to do), I speculate about its possible impacts on psychoanalysis as art and / or science. Ingres’s first version of Oedipus and the Sphinx—the painting whose reproduction Freud displayed—was completed in 1808. Ingres originally painted the picture in Rome where Miriam Leonard 133 he was studying at the French Academy. In common with other students at the academy, Ingres was required to produce figure studies and the original version of this painting was focused on Oedipus and the representation of his bodily form. Ingres had asked his model to use the same pose as the classical statue of Hermes with the Sandal which is displayed in the Louvre. As François de Vergnette writes: “The clarity of the contours, the muted use of chiaroscuro and the slight surface relief given to the figure of Oedipus add an archaic flavor to the picture. This archaism had its roots in Ingres’s taste for Greek vases.”5 But it is the impact of a different Mediterranean culture which can be felt in Ingres’s depiction of Oedipus’ counterpart. While Oedipus embodies the Winckelmannian Hellenic ideal, the Sphinx is represented in all her oriental glory. Ingres painted this image just ten years after Napoleon had lead his troops and “savants” into Egypt. Napoleon’s Egyptian Campaign gave rise to a widespread fascination with ancient Egyptian culture and its impact on the arts was immense. In choosing to represent Oedipus in his encounter with the Sphinx, Ingres was able to draw on this new aesthetic of orientalism.6 Even before Napoleon ’s expedition, the Sphinx had become a potent visual representation of the mystery of ancient Egypt and of ancient Egypt as mystery. Ingres reworked this image during the course of his career and gave the Sphinx an ever greater prominence. In Ingres ’s depiction, the Sphinx’s orientalism... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What Power Do I Have? A Nursing Student’s Concerns Lead to a Passion for EthicsAnonymous OneThe day began like many in our ten–week rotation, around the large table in the brightly lit ICCU nurses’ station. Report, which was given by the night charge nurse, included information on all the patients on the unit. Since I had cared for A. G. the previous day, I was eager to know how (...) she had spent the night. She had a debilitating neuro–muscular disease known as myasthenia gravis. Placed on the ventilator days before, it was reported that she was likely to be dependent on the machine for life. In the late 1970’s there were very few facilities that accepted ventilator dependent patients. She might be with us for a long time.When I entered her room for the first time, I saw a frail older woman with kind eyes and a warm smile. She was breathing with the help of the ventilator through her tracheostomy tube. I learned through her chart that she had no known family. On the day I took care of her, no one came to see her and she had no visitors the previous evening. She lived in a local long–term care facility and was brought to the hospital after she developed respiratory distress. A. G. was unable to move in the bed due to her condition and required frequent suctioning along with turning and repositioning for comfort.Despite her weakness, A. G. was able to communicate silently by mouthing the words for what she wanted and by nodding and shaking her head. I found her to be quite skilled in non–verbal [End Page 93] communication since it took minimal effort to understand what she wanted, but the activity tired her easily. I had just completed A. G.’s morning care when her physician came in to examine her. After completing his assessment, he stopped and leaned in closely to speak with her. He began asking a number of questions about whether she wanted to spend the rest of her life in this way, on a ventilator. She shook her head. Continuing the line of questioning in different ways, she responded to him. I wondered why he was asking these questions. After seeing her response, the physician asked me to get 30 mg of morphine from the narcotics cabinet. Although I didn’t understand the implication of the request, I complied.While I was retrieving the medication from the narcotics cabinet, the charge nurse came to tell me I was being reassigned to a new admission. When I asked why, she told me she couldn’t discuss it, but asked me to please do what she said. I left her standing there, wondering what was going on. After assisting with the new admission, I went back to see A.G.; her door was closed. When I opened the door, the ventilator tubing hung over the side of the machine. Looking down at the bed, I was shocked to find A.G. had been disconnected. She was dead. In a state of disbelief and panic, I sought out the charge nurse to find out what happened. It was clear that I was not to know. I asked her a number of questions but she adeptly changed the subject and redirected me to other activities. By then it was lunchtime and my instructor had left the unit. I asked to be excused and went to seek her out.When I told my instructor what happened, a look of doubt came over her face. “You think Doctor M. killed your patient? That would never happen.” Although I tried to tell her the story, she too, dismissed me, telling me my story didn’t make sense. I was distraught. An overwhelming sense of dread came over me and I began to cry. She encouraged me to go home, which I did.Happily, I had the weekend to recover before returning to clinical. I never found out what happened to A. G. and neither my instructor nor the charge nurse ever spoke to me about my experience. In fact, it seemed no one believed my story... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.4 (1999) 150-177 [Access article in PDF] The Desire for the Sovereign and the Logic of Reciprocity in the Family of Nations Lydia H. Liu It may sound like a truism that the modern nation cannot imagine itself except in sovereign terms. But what is this truism saying or, rather, withholding from us? When Benedict Anderson wrote his influential study of nationalism in 1983, he circumscribed the imagining (...) of the nation as "both inherently limited and sovereign" and relied on this basic understanding to explain the global transformation of dynastic empires into nation-states [Imagined Communities 6]. That insight, however, has not drawn to itself as much attention or scrutiny as some of his other concepts, like "print capitalism" or "creole nationalisms." If one were to name a few of the blind spots in the contemporary discussions of nationalism, cosmopolitanism, and diaspora, one of them would be the place and placing of sovereignty and sovereign right. To those of us whose initial purpose has been to historicize the nation and nationalism, this blind spot cannot but raise some serious methodological and interpretive questions. Insofar as sovereignty articulates a major mode of exchange between nation and empire in recent history and moreover figures prominently in the realm of what Anderson calls "quotidian universals" [Spectre of Comparisons 33], the truism of its truth needs to be unpacked carefully.Hence, I would like to raise some tentative questions about desire and sovereignty, not in terms of legal studies, but in light of what we have learned about colonial exchange and its production of difference, fetishism, identity, and the logic of reciprocity. I am going to show that these intellectual and material developments have had significant bearings on the making of international law such that our inquiry into the latter can no longer be confined to the self-explanatory evolution of legal discourse. For sovereign thinking is one of those areas that must be reexamined, to borrow Edward Said's words, "according to a detailed logic governed not simply by empirical reality but by a battery of desires, repressions, investments, and projections" [18].In this essay, I begin with a critical analysis of Benedict Anderson's work, focusing on the interplay of the historical and the universal in his study of the nation. I am particularly interested in examining what Anderson chose to do, or not to do, with sovereignty in his theory of nationalism, and I raise some questions about his idea of the "modular," whereby the universal takes on the role of a migrant figure making histories [End Page 150] here and there. Section two introduces the subject of fetishism and desire into the discussion by linking the display of the thrones of the Emperor Qianlong in British museums to significant moments of sovereign thinking in the reign of Queen Victoria and the Empress Dowager of China at the turn of the century. In section three, I attempt a detailed discussion of the sovereignty complex of Ku Hung-ming, a diasporic subject who grew up in colonial Malaysia, was educated in Europe, and ended up serving China as his adopted sovereign country. My analysis centers on Ku's well-known defense of the Empress Dowager during the popular nationalist uprising of 1900 and his work as a translator and publicist in Anglo-Chinese military confrontations. Finally, I turn to the theories of international law itself and ask how nineteenth-century jurists revised the notion of sovereignty to arrive at a new constitutive theory of recognition in the heyday of imperialist expansion. I argue that any attempt to explain the rise of the modern nation-state must take full account of this significant revision in the early nineteenth century, because the revision signaled a paradigmatic shift from natural law to positivist jurisprudence to the effect that a constitutive understanding of sovereign right would eventually overcome and displace the natural law notion of universal sovereignty. Sovereign Thinking in Migrant Nationalisms In Imagined Communities, Anderson pointed to sovereignty as a necessary condition in thinking about the nation when, for example, he... (shrink)

Every year, the Vietnamese people reportedly burned about 50,000 tons of joss papers, which took the form of not only bank notes, but iPhones, cars, clothes, even housekeepers, in hope of pleasing the dead. The practice was mistakenly attributed to traditional Buddhist teachings but originated in fact from China, which most Vietnamese were not aware of. In other aspects of life, there were many similar examples of Vietnamese so ready and comfortable with adding new norms, values, and beliefs, even contradictory (...) ones, to their culture. This phenomenon, dubbed “cultural additivity”, prompted us to study the co-existence, interaction, and influences among core values and norms of the Three Teachings –Confucianism, Buddhism, and Taoism–as shown through Vietnamese folktales. By applying Bayesian logistic regression, we evaluated the possibility of whether the key message of a story was dominated by a religion (dependent variables), as affected by the appearance of values and anti-values pertaining to the Three Teachings in the story (independent variables). Our main findings included the existence of the cultural additivity of Confucian and Taoist values. More specifically, empirical results showed that the interaction or addition of the values of Taoism and Confucianism in folktales together helped predict whether the key message of a story was about Confucianism, β{VT ⋅ VC} = 0.86. Meanwhile, there was no such statistical tendency for Buddhism. The results lead to a number of important implications. First, this showed the dominance of Confucianism because the fact that Confucian and Taoist values appeared together in a story led to the story’s key message dominated by Confucianism. Thus, it presented the evidence of Confucian dominance and against liberal interpretations of the concept of the Common Roots of Three Religions (“tam giáo đồng nguyên”) as religious unification or unicity. Second, the concept of “cultural additivity” could help explain many interesting socio-cultural phenomena, namely the absence of religious intolerance and extremism in the Vietnamese society, outrageous cases of sophistry in education, the low productivity in creative endeavors like science and technology, the misleading branding strategy in business. We are aware that our results are only preliminary and more studies, both theoretical and empirical, must be carried out to give a full account of the explanatory reach of “cultural additivity”. (shrink)

Traditionally, the investigation of truth has been anchored in a priori reasoning. Cognitive science deviates from this tradition by adding empirical data on how people understand and use concepts. Building on psychophysics and machine learning methods, we introduce conceptual scaling, an approach to map people's understanding of abstract concepts. This approach, allows computing participant-specific conceptual maps from obtained ordinal comparison data, thereby quantifying perceived similarities among abstract concepts. Using this approach, we investigated individual's alignment with philosophical theories on truth and (...) the predictive capacity of conceptual maps. The obtained results indicated that, while people's understanding of truth is multifaceted and encapsulates notions of coherence and authenticity, alignment is best for the correspondence theory of truth. Furthermore, conceptual maps allowed predicting individual outcomes with an accuracy of roughly 70%. This research demonstrates that conceptual scaling offers accurate descriptions of individual's understanding of abstract concepts, behavioral predictions, and quantification of alignment with theoretical perspectives. (shrink)

Both neutrosophic sets theory and rough sets theory are emerging as powerful tool for managing uncertainty, indeterminate, incomplete and imprecise information .In this paper we develop an hybrid structure called “ rough neutrosophic sets” and studied their properties.

Smarandache (1995) defined the notion of neutrosophic sets, which is a generalization of Zadeh's fuzzy set and Atanassov's intuitionistic fuzzy set. In this paper, we first develop some similarity measures of neutrosophic sets. We will present a method to calculate the distance between neutrosophic sets (NS) on the basis of the Hausdorff distance. Then we will use this distance to generate a new similarity measure to calculate the degree of similarity between NS. Finally we will prove some properties of the (...) proposed similarity measures. (shrink)

Actions that do not have instrumental goals can communicate social goals that are not rituals. Many non-instrumental actions such as bowing or kissing communicate a commitment to or roles in dyadic relationships. What is unclear is when people understand such actions in terms of ritual and when they understand them in terms of relationships.

In this paper, the cosine similarity measure of neutrosophic refined (multi-) sets is proposed and its properties are studied. The concept of this cosine similarity measure of neutrosophic refined sets is the extension of improved cosine similarity measure of single valued neutrosophic. Finally, using this cosine similarity measure of neutrosophic refined set, the application of medical diagnosis is presented.

I do not want to be misunderstood as saying that the cultural situation I describe here caused Reagan, or that it typifies Reaganism, or that everything about it can be ascribed or referred back to the personality of Ronald Reagan. What I argue is that a particular situation within the field we call "criticism" is not merely related to but is an integral part of the currents of thought and practice that play a role within the Reagan era. Moreover, I (...) think, "criticism" and the traditional academic humanities have gone through a series of developments over time whose beneficiary and culmination is Reaganism. Those are the gross claims that I make for my argument.A number of miscellaneous points need to be made here. I am fully aware that any effort to characterize the present cultural moment is very likely to seem quixotic at best, unprofessional at worst. But that, I submit, is an aspect of the present cultural moment, in which the social and historical setting of critical activity is a totality felt to be benign , uncharacterizable as a whole and somehow outside history. Thus it seems to me that one thing to be tried–out of sheer critical obstinacy–is precisely that kind of generalization, that kind of political portrayal, that kind of overview condemned by the present dominant culture to appear inappropriate and doomed from the start.It is my conviction that culture works very effectively to make invisible and even "impossible" the actual affiliations that exist between the world of ideas and scholarship on the one hand, and the world of brute politics, corporate and state power, and military force, on the other. The cult of expertise and professionalism, for example, has so restricted our scope of vision that a positive doctrine of noninterference among fields has set in. This doctrine has it that the general public is best left ignorant, and the most crucial policy questions affecting human existence are best left to "experts," specialists who talk about their specialty only, and–to use the word first given wide social approbation by Walter Lippman in Public Opinion and The Phantom Public–"insiders," people who are endowed with the special privilege of knowing how things really work and, more important, of being close to power1.1. See Ronald Steel, Walter Lippmann and the American Century , pp. 180-85 and 212-6. (shrink)

Product acceptance determination using similarity measure index by neutrosophic statistics / Muhammad Aslam and Rehan Ahmed Khan Sherwani -- New concepts of strongly edge irregular interval-valued neutrosophic graphs / A.A.Talebi, Hossein Rashmanlou and Masoomeh Ghasemi -- The link between neutrosophy and learning : through the related concepts of representation and compression / Philippe Schweizer -- Neutrosophic soft cubic M-subalgebras of B-algebras / Mohsin Khalid, Neha Andaleeb Khalid and Hasan Khalid -- Alpha, beta and gamma product of neutrosophic graphs / Nasir (...) Shah, Said Broumi, Abdul Raheem and Tahir Imran -- Neutrosophic cubic normal ideal and neutrosophic cubic closed normal ideal of PS-algebra / Mohsin Khalid, Hasan khalid and Neha Andaleeb Khalid -- Neutrosophic multisets : an overview / Vakkas Uluçay -- Neutrosophy as a model for knowledge : the influence of representative models on thinking / Philippe Schweizer -- When neutrosophic theory meets three-way decisions / Rui Ren, Chao Zhang and Deyu Li -- Neutrosophic economic order quantity model with more than one price breaks / R. Surya, M. Mullai and G. Madhan Kumar -- General non-square systems of linear equations in single-valued triangular neutrosophic number environment / S.A. Edalatpanah -- Hesitant neutrosophic soft set relations / Abhijit Saha -- Computer application of neutrosophic set operations / S. Saranya, M. Vigneshwaran, Said Broumi -- Triangular bipolar neutrosophic based transportation problem / Avishek Chakraborty -- Studying neutrosophic variables / Rafif Alhabib and Ahmad Salama -- Decision making for logistics center location selection in trapezoidal neutrosophic environment / Kalyan Mondal and Surapati Pramanik -- Weighted similarity measure and decision making model for clinical application of single valued neutrosophic set / R.Binu and P. Isaac -- Rough neutrosophic set : an overview / Surapati Pramanik -- Some new concepts on normalized SVTN-number and multiple criteria decision making / İrfan Deli and Emel Kırmızı Öztürk. (shrink)

The goal of this article is to bring into wider attention the often neglected important work by Bertrand Russell on the philosophy of nature and the foundations of physics, published in the year 1927. It is suggested that the idea of what could be named Russell space, introduced in Part III of that book, may be viewed as more fundamental than many other types of spaces since the highly abstract nature of the topological ordinal space proposed by Russell there would (...) incorporate into its very fabric the emergent nature of spacetime by deploying event assemblages, but not spacetime or particles, as the fundamental building blocks of the world. We also point out the curious historical fact that the book The Analysis of Matter can be chronologically considered the earliest book-length generic attempt to reflect on the relation between quantum mechanics, just emerging by that time, and general relativity. (shrink)

This study presents a description of an open database on scientific output of Vietnamese researchers in social sciences and humanities, one that corrects for the shortcomings in current research publication databases such as data duplication, slow update, and a substantial cost of doing science. Here, using scientists’ self-reports, open online sources and cross-checking with Scopus database, we introduce a manual system and its semi-automated version of the database on the profiles of 657 Vietnamese researchers in social sciences and humanities who (...) have published in Scopus-indexed journals from 2008 to 2018. The final system also records 973 foreign co-authors, 1,289 papers, and 789 affiliations. The data collection method, highly applicable for other sources, could be replicated in other developing countries while its content be used in cross-section, multivariate, and network data analyses. The open database is expected to help Vietnam revamp its research capacity and meet the public demand for greater transparency in science management. (shrink)

A respectiva pesquisa procurou estabelecer a relação de influência da filosofia de Søren Kierkegaard sobre a construção teológica de Paul Tillich. Para tanto, utilizamos como pano de fundo ou estrutura argumentativa o conceito de Desespero humano de Kierkegaard, comparando-o ao conceito de Alienação do ser de Tillich. Objetivamos com isso, demonstrar o entrelaçamento dialogal composto no desenvolvimento da chamada doutrina do pecado original em ambos os autores. Isto é, como o desdobramento da antropologia kierkegaardiana problematizou os fundamentos da teologia sistemática, (...) sobretudo, na questão da harmatiologia, e, como esta mesma problematização, foi capaz de padronizar o modus operandi que determinou a elaboração feita por Tillich sobre o mesmo assunto. Obviamente, que, no decorrer dessa investigação, não se pretendeu “desqualificar” ou “eliminar” a originalidade dos autores, nem tampouco transformar seus argumentos em uma espécie de amálgama conceitual. Assim, antes de uma suposta crítica de ter se proposto uma “fusão arbitrária de ideias”, buscamos, mais uma vez apontar soluções de dialéticas e centros comuns, que apontem para aqueles elementos de convergência, aonde de fato, o diálogo é possível. (shrink)

Resenha do livro A filosofia do judaísmo.

A propósito do Livro SWINBURNE, Richard. Deus Existe? Tradução de Agnaldo Cuoco Portugal. Brasília: Academia Monergista, 2015. 192p.