We present two challenges to the fearful ape hypothesis: (1) biobehavioral synchrony precedes and moderates the effects of fear on cooperative care, and (2) cooperative care emerges in a more bidirectional manner than Grossmann acknowledges. We present evidence demonstrating how dyadic differences in co-regulation and individual differences in infants' reactivity shape caregivers' responses to infant affect.

Collected articles on spiritual life based on the life of Bābu Rāṇapurā, mystic-saint poet from Gujarat; previously published in Kacchamitra, a Gujarati daily.

Collected articles on spiritual life based on Bābubhāī Raṇapurā, 1940, Hindu saint; previously published in Kacchamitra, a Gujarati daily.

We show that under the proper forcing axiom the class of all Aronszajn lines behave like [Formula: see text]-scattered orders under the embeddability relation. In particular, we are able to show that the class of better-quasi-order labeled fragmented Aronszajn lines is itself a better-quasi-order. Moreover, we show that every better-quasi-order labeled Aronszajn line can be expressed as a finite sum of labeled types which are algebraically indecomposable. By encoding lines with finite labeled trees, we are also able to deduce a (...) decomposition result, that for every Aronszajn line [Formula: see text] there is an integer [Formula: see text] such that for any finite coloring of [Formula: see text] there is subset [Formula: see text] of [Formula: see text] isomorphic to [Formula: see text] which uses no more than [Formula: see text] colors. (shrink)

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

Summary Between the 1860s and the 1910s, British acoustics was transformed from an area of empirical research into a mathematically organized field. Musical motives—improving musical scales and temperaments, making better musical instruments, and understanding the nature of musical tones—were among the major driving forces of acoustical researchers in nineteenth-century Britain. The German acoustician, Helmholtz, had a major impact on British acousticians who also had extensive interactions with American and French acousticians. Rayleigh's acoustics, reflecting all these features, bore remarkable fruit in (...) his treatise The Theory of Sound, which successfully subjected empirical acoustics to analytical mathematics. His accomplishments made British acoustics a subfield of physics, thus distinguishing it from the ‘new acoustics’ in early twentieth-century America. (shrink)

This volume honours the life and work of Solomon Feferman, one of the most prominent mathematical logicians of the latter half of the 20th century. In the collection of essays presented here, researchers examine Feferman’s work on mathematical as well as specific methodological and philosophical issues that tie into mathematics. Feferman’s work was largely based in mathematical logic, but also branched out into methodological and philosophical issues, making it well known beyond the borders of the mathematics community. With regard to (...) methodological issues, Feferman supported concrete projects. On the one hand, these projects calibrate the proof theoretic strength of subsystems of analysis and set theory and provide ways of overcoming the limitations imposed by Gödel’s incompleteness theorems through appropriate conceptual expansions. On the other, they seek to identify novel axiomatic foundations for mathematical practice, truth theories, and category theory. In his philosophical research, Feferman explored questions such as “What is logic?” and proposed particular positions regarding the foundations of mathematics including, for example, his “conceptual structuralism.” The contributing authors of the volume examine all of the above issues. Their papers are accompanied by an autobiography presented by Feferman that reflects on the evolution and intellectual contexts of his work. The contributing authors critically examine Feferman’s work and, in part, actively expand on his concrete mathematical projects. The volume illuminates Feferman’s distinctive work and, in the process, provides an enlightening perspective on the foundations of mathematics and logic. (shrink)

Objectives: To quantify the use of do-not-resuscitate orders in a tertiary-care children’s hospital and to characterise the circumstances in which such orders are written.Design: Retrospective study conducted in a 500-bed children’s hospital in Taiwan.Patients: The course of 101 patients who died between January 2002 and December 2005 was reviewed. The following data were collected: age at death, gender, disease and its status, place of death and survival. There were 59 males and 42 females with a median age of 103 months (...) . 50 children had leukaemias, and 51 had malignancies other than leukaemia. The t test and the χ2 test were applied as appropriate.Results: The study found that 44% of patient deaths occurred in the paediatric oncology ward; 29% of patient deaths occurred in the intensive care unit; and 28% of patients died in their home or at another hospital. Other findings included the following: 46 of 101 patients died after attempted cardiopulmonary resuscitation and 55 died with a DNR order in effect. The mean age at death was 9.8 years in both groups with or without DNR orders.Conclusions: From the study of patient deaths in this tertiary-care children’s hospital, it was concluded that an explicit DNR order is now the rule rather than the exception, with more DNR orders being written for patients who have been ill longer, who have solid tumours, who are not in remission and who are in the ward. (shrink)

Summary The resonator and the tuning fork were major instruments in acoustics in the latter half of the nineteenth-century. In particular, the third Baron Rayleigh made extensive use of these instruments throughout his long career as an experimentalist. These instruments underwent a number of alterations during their use as central experimental tools in acoustics. Functional and structural alterations were introduced in the adaptation of these instruments to several major acousticians’ experimental settings. Rayleigh not only adopted the two instruments as objects (...) of mathematical and experimental investigation but also employed them ingeniously for various purposes. His continuing creation of a variety of uses and forms of these instruments contributed to focusing acoustics on pure tones and musical sounds until the early twentieth century. (shrink)

The social aspects of modern science and technology; The cultural aspects of science; The sociology of the research process; The planning of science: bernal versus polanyi.