The purpose of this article is to incorporate trans?national actors and institutions into citizenship theory both theoretically and empirically. We analyze three cases of recognition movements promoting gender, ethnic/minority and indigenous rights. Using one societal context, Sweden, we map the processes and mechanisms of power and agency (boundary?making and brokering) that shape how trans?national institutions and actors offer new forms of leverage politics to recognition movements as well as constrain their agency. These mechanisms of power are formalized in a model (...) showing the multi?level effects of leverage politics on recognition movements. Our three cases of recognition politics demonstrate the increasingly complex links between actors in policy communities across regional, national, European and international levels. They also reveal the processes implicit in our model: that policy imports are reframed when translated into specific national political cultures; and more broadly, that national citizenship frames of membership and inclusion are not easily dislodged. (shrink)

Introduction -- Rational explanation of belief -- Rational explanation of action -- (Non-human) animals and their reasons -- Rational explanation and rational causation -- Events and states -- Physicalism.

We argue that many intuitions do not have conscious propositional contents. In particular, many of the intuitions had in response to philosophical thought experiments, like Gettier cases, do not have such contents. They are more like hunches, urgings, murky feelings, and twinges. Our view thus goes against the received view of intuitions in philosophy, which we call Mainstream Propositionalism. Our positive view is that many thought-experimental intuitions are conscious, spontaneous, non-theoretical, non-propositional psychological states that often motivate belief revision, but they (...) require interpretation, in light of background beliefs, before a subject can form a propositional judgment as a consequence of them. We call our view Interpretationalism. We argue (i) that Interpretationalism avoids the problems that beset Mainstream Propositionalism and (ii) that our view meshes well with empirical results in contemporary cognitive science. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Philosophers, Henri Bergson once observed, "seem to philosophize as if they were sealed in the privacy of their study and did not live on a planet surrounded by the vast organic world of animals, plants, insects, and protozoa." Providing a solid overview of ecological philosophy and original insights into this developing field, Minding Nature focuses on some of the most influential thinkers who, in fact, have emphasized our natural relations to the earth, our social creations, and each other. Combining philosophy, (...) ecology, and political theory, chapters thoroughly examine, critique, and build upon the ideas of such luminaries as Thomas Hobbes, Martin Heidegger, Ernst Bloch, Hannah Arendt, Herbert Marcuse, Barry Commoner, Rachel Carson, and Jurgen Habermas, among others. Each thinker considered has contributed significantly to both contemporary discussion and historical understanding of political, epistemological, or social aspects related to nature and, with several exceptions, stimulated constructive dialogue within progressive, democratic, and radical left circles. By challenging the notion that conservation is inherently politically conservative or that our oikos (home) must be rendered uniformly economic where ecology is concerned, they enable us to rethink the possibility of creating a more democratic and ecological society. (shrink)

Alternative readings of quantification are considered. The absence of an unequivocal translation into ordinary speech is noted. Some examples are cited which, in the opinion of the author, are a result of equivocal readings of quantification, or unnecessarily restrictive readings which obscure its primary function.

This article aims to summarize the current ethical issues in the field of clinical and counseling psychology and the process of developing professional ethical standards in China. First, through a review of the history of counseling and psychotherapy in China, general background information is provided. Important ethical issues are then discussed based on the results from several empirical studies. Finally, the process of developing the new edition of the Chinese Psychological Society Code of Ethics for Clinical and Counseling Psychology, the (...) main contents as well as the considerations taken into account in the development of this code are presented. (shrink)

In recent decades, a view of identity I call Sortalism has gained popularity. According to this view, if a is identical to b, then there is some sortal S such that a is the same S as b. Sortalism has typically been discussed with respect to the identity of objects. I argue that the motivations for Sortalism about object-identity apply equally well to event-identity. But Sortalism about event-identity poses a serious threat to the view that mental events are token identical (...) to physical events: A particular mental event m is identical with a particular physical event p only if there is a sortal S such that m and p are both Ss. If there is no such sortal, the doctrine of token-identity is not true. I argue here that we have no good reason for thinking that there is any such sortal. (shrink)

Moral injury signifies an enduring moral anguish experienced as betrayal, shame, confusion, futility, and distrust, entailing intrapersonal, interpersonal, and transpersonal dimensions. This essay proposes a taxonomy of moral injury informed by the ripple effects of harm caused by clergy sexual abuse and its concealment in the Catholic Church. These five categories distinguish between the moral distress endured by perpetrators and victims as well as bystanders and other implicated subjects, the moral fallout caused by a specific event in comparison to exposure (...) to a toxic environment, and as a spectrum that spans from acute to diffuse symptoms of moral violation. This typology illuminates how moral injury impacts conscience, which means “to know together,” indicating that healing moral injury is both a personal and communal endeavor. (shrink)

This article shows how, in recent works of cultural analysis, the concept of ‘assemblage’ has been been derived from key sources of theory and put to work to provide a structure-like surrogate to express certain prominent values of a modernist sensibility in the discourse of description and analysis. Assemblage is a sort of anti-structural concept that permits the researcher to speak of emergence, heterogeneity, the decentred and the ephemeral in nonetheless ordered social life. There are other related concepts, like collage, (...) which have been used to give these values substance in research, but currently assemblage is enjoying a popularity perhaps because of the continuing fascination of the work of Deleuze and Guattari. (shrink)

Cognitive scientists must understand not just what the mind does, but how it does what it does. In this paper, I consider four aspects of cognitive architecture: how the mind develops, the extent to which it is or is not modular, the extent to which it is or is not optimal, and the extent to which it should or should not be considered a symbol‐manipulating device (as opposed to, say, an eliminative connectionist network). In each case, I argue that insights (...) from developmental and evolutionary biology can lead to substantive and important compromises in historically vexed debates. (shrink)

The Golden Rule has received remarkably little philosophical discussion. No book has ever been written on it, and articles devoted to it have been exceedingly few, and usually not very searching. It is usually mentioned, where it is mentioned at all, only in passing, and most of these passing remarks have either been false, trite, or misleading, though some of them, as we shall see, have certainly been interesting enough. Considering its obvious importance and its almost universal acceptance, this dearth (...) of philosophical discussion is unfortunate, and also somewhat surprising. One of the things I hope to show about it, though only incidentally, is that there are problems connected with it of the utmost subtlety, worthy of the attention of even the most minute philosophers. (shrink)

Using a policy-capturing approach with a broad student sample we examine how individuals’ economic, social and environmental values influence their propensity to engage in a broad range of sustainability-related corporate actions. We employ a multi-dimensional sustainability framework of corporate actions and account for both the positive and negative impacts associated with corporate activity—termed strength and concern actions, respectively. Strong economic values were found to increase the propensity for concern actions and the willingness to work in controversial industries. Individuals with balanced (...) values were as likely as those with strong economic values to pursue positive economic outcomes, but without the same downside potential for concern actions. We also found significant gender effects, with females being less likely to engage in concern actions and more supportive of social and environmental strength actions. (shrink)

This collection of Marcus's non-technical essays include her earlier ground-breaking axiomatizations of quantified modal logic, and explore such topics as the necessity of identity, the directly referential role of proper names as "tags", the interplay of possibility and existence, and others viewed as iconoclastic when Marcus first addressed them, but now long incorporated into current discussion.

Two principles are central to Rational Causation. Causalism: Believing and acting for a reason are causal phenomena in the sense that there is in both domains a causal connection between ground and grounded. Equivalence: There is a necessary connection between something's being the reason why I believe or act and my taking it to favour the belief or action. Kieran Setiya argues that Causalism is false in the theoretical case and that Equivalence is false in the practical case. I reply (...) to these and other arguments. (shrink)

Because doping is becoming more and more of a problem in elite sports, anti-doping and prevention programs are receiving more attention. However, current doping prevention programs that primarily involve pedagogical education in youths have not been shown to be very effective. In sports philosophy there is a discourse about ethics and morality in sports in connection with doping. So far, however, the aspect of ethics has been neglected in anti-doping prevention programs. This article discusses a new approach to doping prevention (...) for young athletes and a way to improve conventional doping prevention by focusing on the process of decision-making. The article argues that ethical decision-making programs based on ethical training programs developed in business offer a large potential for prevention programs in sport. The article concludes with a presentation of training possibilities for ethical decision-making in connection with doping. (shrink)

Mercy is the defining characteristic of Pope Francis’s leadership. Francis’s words and actions have made visible a discipline of mercy, which does more than illuminate God’s character and purpose; it offers an expansive imaginative framework to spark new possibilities for moral agency and growth. Before Francis, mercy received limited attention in the canon of Catholic social thought. Francis’s signature message of mercy retrieves a central moral duty in Scripture, provides a focal lens for Catholic social thought, and aims to inspire (...) a “revolution of tenderness” capable of inspiring personal conversion and social change. This essay moves forward in three steps. It first unpacks the rich and diverse meaning of the word mercy and explores its undervalued role in CST; it then analyzes how mercy functions as the crux of Francis’s moral imagination; and finally, it explores how mercy expands possibilities for living the principles of Catholic social thought. (shrink)

The new explanatory or enhanced indispensability argument alleges that our mathematical beliefs are justified by their indispensable appearances in scientific explanations. This argument differs from the standard indispensability argument which focuses on the uses of mathematics in scientific theories. I argue that the new argument depends for its plausibility on an equivocation between two senses of explanation. On one sense the new argument is an oblique restatement of the standard argument. On the other sense, it is vulnerable to an instrumentalist (...) response. Either way, the explanatory indispensability argument is no improvement on the standard one. (shrink)

Arts of Allusion: Object, Ornament, and Architecture in Medieval Islam By GravesMargaret S., xi + 339 pp. Price HB £55.00. EAN 978–0190695910.

The theory of affective intelligence dichotomizes challenging situations into threatening and risky ones. When people perceive a familiar threat, they tend to be dogmatic and partisan, since they are mobilizing decisive action based on habitual behaviors and nearly instinctual perceptions that have proved their worth in similar situations. When facing a novel risk, however, people tend to become more open‐minded and deliberative, since old solutions do not apply. An experiment with students' reactions to challenges to their opinions about a divisive (...) political issue suggests that, indeed, democratic citizens display the different competencies that are demanded by these two different types of situation. The actual conduct of political campaigns, too, can be expected to reflect the differences between trying to guard against defections from one's side by encouraging the appearance of routine partisan combat, and trying to promote defections from the other side by prompting anxiety, hence open‐minded deliberation. (shrink)

Introduction -- Creative experience as the birthplace of the transcendent -- On refinding God during chemotherapy -- Reflections on moments of grace -- On the quiet virtue of humility -- Summoned to courage -- Maintaining personal dignity in the face of the mass society -- On fidelity and betrayal in love relationships -- The kiss.

Laura Marcus is one of the leading literary critics of modernist literature and culture. Dreams of Modernity: Psychoanalysis, Literature, Cinema covers the period from around 1880 to 1930, when modernity as a form of social and cultural life fed into the beginnings of modernism as a cultural form. Railways, cinema, psychoanalysis and the literature of detection - and their impact on modern sensibility - are four of the chief subjects explored. Marcus also stresses the creativity of modernist women (...) writers, including H. D., Dorothy Richardson and Virginia Woolf. The overriding themes of this work bear on the understanding of the early twentieth century as a transitional age, thus raising the question of how 'the moderns' understood the conditions of their own modernity. (shrink)

Rogers & McClelland's (R&M's) précis represents an important effort to address key issues in concepts and categorization, but few of the simulations deliver what is promised. We argue that the models are seriously underconstrained, importantly incomplete, and psychologically implausible; more broadly, R&M dwell too heavily on the apparent successes without comparable concern for limitations already noted in the literature.

Logic, Methodology and Philosophy of Science VII.

What role did poetry, music, song, and dance play in the social and political life of the ancient Greek city? How did philosophy respond to, position itself against, and articulate its own ambitions in relation to the poetic tradition? How did ancient philosophers theorize and envision alternatives to fourth-century Athenian democracy? The City and the Stage poses such questions in a study of the Laws, Plato's last, longest, and unfinished philosophical dialogue. Reading the Laws in its literary, historical, and philosophical (...) contexts, this book offers a new interpretation of Plato's final dialogue with the Greek poetic tradition and an exploration of the dialectic between philosophy and mimetic art. Although Plato is often thought hostile to poetry and famously banishes mimetic art from the ideal city of the Republic, The City and the Stage shows that in his final work Plato made a striking about-face, proposing to rehabilitate Athenian performance culture and envisaging a city, Magnesia, in which poetry, music, song, and dance are instrumental in the cultivation of philosophical virtues. Plato's views of the performative properties of music, dance, and poetic language, and the psychological underpinnings of aesthetic experience receive systematic treatment in this book for the first time. The social role of literary criticism, the power of genres to influence a society and lead to specific kinds of constitutions, performance as a mechanism of gender construction, and the position of women in ancient Greek performance culture are central themes throughout this study. A wide-ranging examination of ancient Greek philosophy and fourth-century intellectual culture, The City and the Stage will be of significance to anyone interested in ancient Greek literature, performance, and Platonic philosophy in its historical contexts. (shrink)