This paper examines the foreign direct investment decision from an ethical perspective, and considers the moral agency involved in such decisions, with emphasis upon the corporate decision-maker. Historical capital allocation models once regarded as both financially and ethically normative are shown to be deficient in today's environment. Work of modern western philososphical and theological ethicists is included in analyses of the applicability of selected ethical approaches or metaphors to multinational foreign direct investment decisions and the corporate manager's role and responsibility (...) as corporate decision-maker and moral agent. The ethical perspectives reviewed can serve as an aid to the individual manager's determination of what constitutes a responsible exercise of decision-making power. (shrink)

Patient engagement in healthcare is increasingly discussed in the literature, and initiatives engaging patients in quality improvement activities, organizational design, governance, and research are becoming more and more common and have even become mandatory for certain health institutions. Here we discuss a number of ethical challenges raised by this engagement from patients from the perspectives of research, organizational/quality improvement practices, and patient experiences, while offering preliminary recommendations as to how to address them. We identified three broad categories of ethical issues (...) that intersect between the different types of patient engagement: (1) establishing a shared vision about goals of patient engagement and respective roles; (2) the process and method of engaging with patients; and (3) practical aspects of patient engagement. To explain these issues, we build from our personal, professional, and academic experiences, as well as traditions such as pragmatism and hermeneutics that stress the importance of participation, empowerment, and engagement. Patient engagement can be highly valuable at numerous levels, but particular attention should be paid to the process of engaging with patients and related ethical issues. Some lessons from the literature on the ethics of participatory research can be translated to organizational and quality improvement practices. (shrink)

Moral or ethical questions are vital because they affect our daily lives: what is the best choice we can make, the best action to take in a given situation, and ultimately, the best way to live our lives? Health ethics has contributed to moving ethics toward a more experience-based and user-oriented theoretical and methodological stance but remains in our practice an incomplete lever for human development and flourishing. This context led us to envision and develop the stance of a “living (...) ethics”, described in this inaugural collective and programmatic paper as an effort to consolidate creative collaboration between a wide array of stakeholders. We engaged in a participatory discussion and collective writing process known as instrumentalist concept analysis. This process included initial local consultations, an exploratory literature review, the constitution of a working group of 21 co-authors, and 8 workshops supporting a collaborative thinking and writing process. First, a living ethics designates a stance attentive to human experience and the role played by morality in human existence. Second, a living ethics represents an ongoing effort to interrogate and scrutinize our moral experiences to facilitate adaptation of people and contexts. It promotes the active and inclusive engagement of both individuals and communities in envisioning and enacting scenarios which correspond to their flourishing as authentic ethical agents. Living ethics encourages meaningful participation of stakeholders because moral questions touch deeply upon who we are and who we want to be. We explain various aspects of a living ethics stance, including its theoretical, methodological, and practical implications as well as some barriers to its enactment based on the reflections resulting from the collaborative thinking and writing process. (shrink)

In Spoils of War, a diverse group of distinguished contributors suggest that acts of aggression resulting from the racism and sexism inherent in social institutions can be viewed as a sort of "war," experienced daily by women of color.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.1 (2002) 41-62 [Access article in PDF] Pure of Heart: From Ancient Rites to Renaissance Plato Marjorie O'Rourke Boyle The philosopher who published Plato for Western thought praised him strangely. Marsilio Ficino commended his translation of the Phaedrus to his soul mate Iohannes Bessarion because in that dialogue Plato sought from God spiritual beauty. "When this gold was given to Plato by (...) God, it shone in him most brilliantly, because he was so pure in heart." The epithet "pure in heart" is not literally Ficino's diction: he wrote "in his Platonic bosom perfectly clean" (Platonico in sinu utpote mundissimo). 1 Although this philological variant insinuates his full meaning, the modern translation conveys his essential import. Ficino and Bessarion were both scholars and priests, convinced of the compatibility of Platonism with Christianity. The recipient of the letter, Bessarion, had defended the Phaedrusvigorously against protestations that, for promoting the criminal activity of pederasty, it was an obscene work of unchaste philosophy. "Love," he declared, "leads many to beatitude." 2 Ficino emphasized that "no one can attain beatitude, which consists in divine contemplation, unless he loves God ardently." 3 To that end he translated the complete works of Plato into Latin with commentaries. He also composed a speculative Theologia platonica. The pair would have approved of the application to Plato of the gospel promise "Blessed are the pure of heart [hoi katharoi t¯e kardia], for they shall see God" (Matt. 5:8). Was this promise not already fulfilled in Plato, even before Jesus' pronouncement? Did not Socrates in the Phaedrus soar to the vision of God in his myth of the charioteer, where among privileged souls he peered over the rim of intelligible being to behold the divine processional and true being? The [End Page 41] myth figured the recollection of the soul's primordial state of innocence, "when we were pure ourselves," and, beholding "the beatific vision," were initiated into its "most blessed" mystery. 4 Bessarion cited the passage defensively, declaring Socrates' speech "most holy." 5The beatitudes, from which "pure of heart" derived, emphatically comprised the opening discourse of Jesus' Sermon on the Mount. Jesus blessed the poor in spirit, the mourners, the meek, those hungry and thirsty for righteousness, the merciful, the pure of heart, the peacemakers, and those persecuted for righteousness. He pronounced a corresponding good for each type (Matt. 5:1-10). The first four beatitudes promised reversals for the unfortunate; the second four, eschatological rewards for the virtuous. 6 Ficino personalized the beatitudes. He applied them in a letter to an archbishop to his own contrasting status as a priest "of humble fortune." Indicating his slight financial means, he affirmed obedience to his lot, even contentment with his meager possessions. He then wielded the divine reversal of human judgment, so startling in the beatitudes, against his enemies. "I am certainly content with few possessions, even though I am often held in contempt by many; for these many ought to be deemed of little worth. Blessed are the poor in spirit. Blessed are the peacemakers." 7Ficino also philosophized the beatitudes. He argued in Theologia platonica that, although the celestial realm was usually considered fiery, it could be earthy, as poets imagined the Elysian Fields. Jesus' beatitude promising the possession of the earth to the meek was proof. Ficino expounded the nine grades of celestial beatitude as a belief shared by Platonists and Christians. He assigned these grades to varying degrees and combinations of three ends: the fear of divine power, the search for wisdom, and the love of good, which ultimately transformed the soul. This elaborate division Ficino compared to Jesus' beatitudes. "I think that this mystery is signified in the gospel, where the divine oracle nine times calls his disciples blessed, because through nine grades of merit, with God leading, the nine heavens are sought blessedly through nine degrees of contemplation." Despite his philosophical imposition on the biblical text, Ficino qualified his syncretism. The gospel admonished the dismissal of philosophical meanderings to pursue... (shrink)

Derrida’s quite uncharacteristic literalism is surprising: he takes de Man and Dosogne at their word,6 thus boxing himself into a peculiar corner. If indeed there was no censorship of de Man’s articles written prior to August 1942, why is his “discourse … constantly split, disjointed, engaged in incessant conflicts”? If the young de Man could speak freely, why do “all the propositions [in his texts] carry within themselves a counterproposition” ? If, on the other hand, as Denuit and others have (...) made amply clear, there was in fact censorship all along, the Führerprinzip operating from the day de Becker took over Le Soir, then we have to conclude that de Man is not telling the truth in his letter to Poggioli. Either way, the statement is compromised. As for the word Nazi, it is not at all surprising that de Man didn’t use it in his texts for Le Soir. Hitler’s strategy, at the time, was to try to convince the Belgians that annexation to Germany was no more than an inevitable return to the glorious German fatherland, the home of Culture, the Arts, Philosophy. Indeed, if the Nazis could be seen as simply equivalent to the Germans of tradition, the Belgians had nothing to fear! 6. See Culler, “Letter to the Editor,” p. 4: “De Man ceased writing for Le Soir in the fall of 1942, when the Nazis extended censorship to the cultural section of the paper.” Marjorie Perloff, professor of English and comparative literature at Stanford University, is the author of Futurist Moment: Avant-Garde, Avant Guerre, and the Language of Rupture . A collection of her recent essays, Of Canons and Contemporaries, is forthcoming. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Whose New American Poetry? Anthologizing in the NinetiesMarjorie Perloff (bio)In the two-year span 1993–94, no fewer than three major poetry anthologies appeared that featured the poetry of what has been called “the other tradition”—the tradition inaugurated thirty-five years ago by Donald M. Allen’s New American Poetry: 1945–1960. These three anthologies are, in order of publication, Eliot Weinberger’s American Poetry since 1950: Innovators and Outsiders, Paul Hoover’s Postmodern American Poetry, (...) and Douglas Messerli’s From the Other Side of the Century. A New American Poetry 1960–1990. 1 In 1994, moreover, there were two other large anthologies of alternate poetries by “younger” poets, 2 these two in the tradition of Ron Silliman’s In The American Tree: Language, Poetry, Realism and Douglas Messerli’s earlier ‘Language’ Poetries: An Anthology. They are Peter Gizzi, Connell McGrath, and Juliana Spahr’s two-volume anthology called Writing from the New Coast, 3 and Dennis Barone and Peter Ganick’s The Art of Practice: 45 Contemporary Poets.Five volumes, then, of the “new” alternate poetries. And a sixth—this time a real blockbuster—is in progress: Jerome Rothenberg and Pierre Joris’s two-volume Poems for the Millennium: The University of California Book of Modern and Postmodern Poetry, which differs from all of the above by covering poetry and poetics of the entire twentieth century and from around the world. The first volume of Poems for the Millennium, From Fin-de-Siècle to Negritude (1995), takes us from such “forerunners” of Modernism as Blake, Hölderlin, Dickinson, and Rimbaud through the Futurisms, Dada, Surrealism, and Objectivism, along with complex “galleries” of individual poets, while the second—and sure to be more controversial—volume (1997) brings us up to the global present.A new avant-garde thus seems to be in the making—indeed, oxymoronic as it may sound, a new avant-garde consensus. Yet the countercanonizing of the recent anthologies is not without its own aporias. What these are is my subject here.The Modest OppositionMy starting point is that of the avant-garde anthologists themselves: Donald Allen’s New American Poetry of 1960. From the vantage point of 1995, the most startling thing about the Allen anthology—still acknowledged by all later anthologists as the fountainhead of radical American poetics—is its modesty. The New American Poetry runs to 454 pages, including statements of poetics, biographical notes, and a short bibliography; it contains forty-four poets, all of them having come to prominence in the period between 1945 (the [End Page 104] end of World War II) and 1960 (the date of publication). The four-page preface opens as follows:In the years since the war American poetry has entered upon a singularly rich period. It is a period that has seen published many of the finest achievements of the older generation: William Carlos Williams’ Paterson, The Desert Music and Other Poems, and Journey to Love; Ezra Pound’s The Pisan Cantos, Section: Rock-Drill, and Thrones; H. D.’s later work culminating in her long poem Helen in Egypt; and the recent verse of E. E. Cummings, Marianne Moore, and the late Wallace Stevens. A wide variety of poets of the second generation, who emerged in the thirties and forties, have achieved their maturity in this period: Elizabeth Bishop, Edwin Denby, Robert Lowell, Kenneth Rexroth, and Louis Zukofsky, to name only a few very diverse talents. And we can now see that a strong third generation, long awaited but only slowly recognized, has at last emerged.[xi]Note that Allen introduces the “new” American poetry, not as an “alternative” to anything else but as the successor of two preceding generations. He does not quarrel about the Moderns: if Eliot isn’t included in the above list, it is because he had stopped writing lyric poetry after Four Quartets and had turned to the theater. The cited second generation, moreover, is more “diverse” (Allen’s word) here than it will ever be again in the anthologies: Bishop and Denby, Lowell and Rexroth and Zukofsky. And the third generation, presumably following in the footsteps of the first and second, is now said to... (shrink)

Whatever we choose to call Beckett’s series of disjunctive and repetitive paragraphs , Ill Seen Ill Said surely has little in common with the short story or the novella. Yet this is how the editors of the New Yorker, where Beckett’s piece first appeared in English in 1981, evidently thought of it, for like all New Yorker short stories, it is punctuated by cartoons and, what is even more ironic, by a “real” poem, Harold Brodkey’s “Sea Noise” . Notice that (...) the reader immediately knows—or is supposed to know—that Brodkey is a poet and Beckett a fiction writer, not only because “Sea Noise” is designated a poem in the issue’s table of contents, but also because its placement on the page, framed by white space, distinguishes it from Ill Seen Ill Said, which is printed in standard New Yorker columns. Yet if we examine the sound structure of Brodkey’s poem, we find that the rhythm of recurrence is, if anything, less prominent here than in the Beckett “prose.” The four stanzas are of irregular line length ; the stress count ranges from one to five ; rhyme occurs only once, at the end of the poem ; and alliteration and assonance are not marked. Unless we assume that poetry is defined by the sheer decision of its maker to lineate the text, or unless we want to call “Sea Noise” a poem because it is built around a single extended metaphor , there is no rationale for the classification the New Yorker has implicitly adopted.4The meaning of this classification is worth pondering, for it represents, in microcosm, the orthodoxy of every major literature textbook and literary history as well as of most classrooms in the United States and Britain, which that Beckett is a writer who, like the young Joyce or the young Faulkner, wrote in his dim youth some negligible, clotted lyric poems but whose real work belongs to drama and fiction. As such, we don’t teach Beckett in our poetry courses or include him in discussions of contemporary poetry and poetics. The index of any major book on the subject—say, Robert Pinsky’s The Situation of Poetry—will bear this out. And yet the irony is that contemporary poets are increasingly using forms that cannot be properly understood without the example of Beckett’s astonishing “lyrics of fiction”—to use Ryby Cohn’s apt term5—or, as I shall call them, his “associative monologues.” Perhaps, then, it is time to rethink our current procedures of canon making. In what follows, I shall use Ill Seen Ill Said as an example.4. Contemporary prosodists, perhaps because they must account for the difficult case of free verse, generally do equate verse—and hence implicitly the poem—with lineation. For example, Charles O. Hartman, in his recent Free Verse: An Essay in Prosody , observes that, difficult as it is to define the word “poetry” “rigorously and permanently,” verse can be distinguished from prose quite readily:Verse is language in lines. This distinguishes it from prose…. This is not really a satisfying distinction, as it stands, but it is the only one that works absolutely. The fact that we can tell verse from prose on sight, with very few errors…indicates that the basic perceptual difference must be very simple. Only lineation fits the requirements. [P.11]But, as I have just shown in the case of Beckett and Brodkey, what looks like verse may sound like prose and vice versa. The “basic perceptual difference” between the two is surely not as simple as Hartman suggests. I discuss this question from a somewhat different angle in “The Linear Fallacy,” Georgia Review 35 : 855-69.5. See Ruby Cohn, Back to Beckett , chap. 5, “Lyrics of Fiction.”. (shrink)

Introduction -- The use and abuse of "use and abuse" -- The pleasures of the canon -- What isn't literature -- What's love got to do with it? -- So you want to read a poem -- Why literature is always contemporary -- On truth and lie in a literary sense -- Go figure -- The impossibility of closure -- Coda: after the humanities.

Desmond Clarke's remarks on “my” absurdity argument are puzzling. i) Although I do indeed still believe it to be a valid argument, I certainly would not claim credit for it. I believe that “Reducibility: Another Side Issue?” put the general problem of the reducibility of mind into a somewhat unorthodox context, but the particular claim Clarke is attacking forms only one very unoriginal step in the general argument of that essay. ii) Some points that Clarke makes I would certainly agree (...) to, and believe I have agreed to in some of the texts he cites, while others are far from anything I meant to convey. Under Clarke's, 1) of course the “antinomies” of the paper above referred to trade on ambiguities. That's one of the points of the paper. 2) in both “Reducibility … ” and “To Have A Mind …”, I have tried to specify the sense in which “mechanism” was being used. That I do not take such terms as self-explanatory should be clear, for instance, from the remarks in the latter paper that immediately follow the passage Clarke criticizes. 3) I have no idea how physics is to develop in the future, nor did I wish to suggest that I did. With the rest of Clarke's I entirely agree. As to his, I fail to see its relevance to my argument, unless it simply leads up to and, with which, again, I wholeheartedly concur. Nancy Maull's paper, which Clarke refers to, for example, seems to me to shed great light on what used to be thought the problem of reduction; I don't see how her argument conflicts with “mine.” iii) Clarke's two “interpretations” of “my” argument are even more puzzling. The first paragraph is clear, as far as it goes. But the second is entirely murky. Perhaps I may try to reconstruct it. “The question for the scientist of a reductivist disposition in this context,” Clarke writes, “is: would it be possible to construct an alternative theory which adequately explains the same phenomena as the human sciences?” Fair enough. But apparently one is not allowed to reflect about an answer to this question. One has to wait and see if such a theory does develop. And meantime to notice that any theory by its very nature is intentional: this is to use some part of the human sciences to establish the explanatory power of all the human sciences. Is that what is meant? If so, I would reply: that the claim that theories are inherently intentional is not a thesis of any “human science” but a philosophical thesis about the nature of intelligible discourse. If a wholly non-intentional theory of human action were stated it would invalidate itself as theory. Thus, to respond to the major accusation of, we would have an answer to Clarke's question such that the question could not have been asked. What we have, then, is not a petitio but a valid reductio ad absurdum. (shrink)

ZusammenfassungNach Descartes besteht der Hylomorphismus nur beim Menschen und sonst gar nicht. Die Cartesische Lehre wird an Hand von vier Fragen untersucht. 1. Wie sehen die Texte aus, in denen Descartes gegen die substantiale Form im allgemeinen bzw. fur die substantiale Form im Men schen spricht? 2. Wie verhält sich die Cartesische Lehre von der Stelle des Menschen in der Natur zur Aristotelischen Fassung? 3. Wie hat Descartes das scholastische Modell umgedeutet, um zu seiner Kritik der substantialen Form zu gelangen? (...) 4. Welche Rolle spielt die substantiale Form in der Entwicklung der Cartesischen Metaphysik, und wie verandert sich der Substanzbegriff durch diese Entwicklung?SummaryAccording to Descartes hylomorphism occurs in man only and nowhere else. The Cartesian doctrine is examined in relation to four questions. 1. What are we to make of the texts in which Descartes speaks against substantial form in general and for substantial form in the human case? 2. How does Descartes's doctrine of the place of man in nature compare with Aristotle's? 3. How did Descartes reinterpret the scholastic model, in order to arrive at his critique of substantial form? 4. What role does substantial form play in the development of Descartes's metaphysic, and how is the traditional concept of substance altered by this development?RésuméPour Descartes, l'hylomorphisme ne se trouve que chez I'homme, et nulle part ailleurs. L'auteur examine cette doctrine en essayant de répondre à quatre questions: 1. Que peut‐on tirer des textes où Descartes se prononce contre les formes substantielles dans le cas général et pour ces mêmes formes dans le cas de l'homme? 2. Comment se présente, comparée à celle d'Aristote, la doctrine cartésienne de la place de I'homme dans la nature? 3. Comment Descartes, réinterpré‐tant le modéle scolastique, est‐il arrivéà sa critique des formes substantielles? 4. Quel rôle les for mes substantielles jouent‐elles dans le développement de la métaphysique cartésienne et en quoi le concept traditionnel de substance a‐t‐il été affecté par ce développement? (shrink)

This paper examines a number of questions about the degree to which the clinical practice of medicine is affected, if at all, by the legal systems in four countries: Chile, Germany, Japan and the United States. The focus on these four countries in four different regions of the world offers a unique perspective within which to examine medical treatment decisions made by patients and their proxies or surrogates, the potential role for universal written instruments such as advance directives, the cross-professional (...) tensions between clinical and legal concerns in very distinct cultures, and the degree to which legal activities can change or affect clinical realities in the context of these different political and health care systems. We have incorporated, whenever relevant, the insights of many disciplines, including the social sciences, in analyzing the existing interrelations between law and behavior in this specific context. Der Beitrag untersucht, inwieweit die klinische Praxis in vier Ländern mit unterschiedlichen Rechtssystemen und Berufskulturen durch Rechtsnormen oder das Verständnis von Recht beeinflußt wird. Es wird gefragt, welche Funktion rechtliche Interventionen bei der Veränderung von Verhaltensnormen in unterschiedlichen Gesundheitssystemen haben können. Folgende Themenbereiche werden diskutiert: Entscheidungen über die medizinische Behandlung, die von Patienten und ihren Angehörigen oder Stellvertretern getroffen werden; die mögliche Rolle umfassender schriftlicher Verfügungen wie z.B. der Patiententestamente ; die berufsübergreifenden Spannungen zwischen medizinischen und rechtlichen Belangen in sehr unterschiedlichen Kulturen; der Einfluß, den gesetzgeberische Aktivitäten im Kontext der verschiedenen politischen und Gesundheitssysteme auf die medizinische Wirklichkeit haben. Bei ihrer Analyse der in diesem Zusammenhang bestehenden Beziehungen im Verhältnis von Recht und Verhalten haben die Autoren die Erkenntnisse vieler Disziplinen unter Einschluß der Sozialwissenschaften, soweit sie als relevant erscheinen, in ihren Beitrag eingearbeitet. (shrink)

In this Introduction we lay out the context of a ‘Continental philosophy of biology’ and suggest why Georges Canguilhem’s place in such a philosophy is important. There is not one single program for Continental philosophy of biology, but Canguilhem’s vision, which he referred to at one stage as ‘biological philosophy’, is a significant one, located in between the classic holism-reductionism tensions, significantly overlapping with philosophy of medicine, philosophy of technology and other themes moving away from the more common existential and (...) phenomenological motifs of post-war European thought. Chapters examine (among other themes) his relation to Lebensphilosophie, to authors such as Kant, Nietzsche and Marjorie Grene, and to current theoretical biology. (shrink)

This excellent volume consists of thirteen essays on the objections Descartes received in response to his Meditations, bracketed by a prologue by both editors and an epilogue by Marjorie Grene. The goal of this book is to further an understanding of these objections by discussing them in their historical and philosophical context, and in this it largely succeeds.

In this collection of essays, some of the leading ecologists and philosophers discuss the foundations of ecology and evolutionary biology. While large scale philosophical convictions and attitudes often direct the theorist's line of concrete action in data collection and in theory information, the founda tional convictions typically remain tacit, and are seldom argued for. The present collection aims to remedy this situation. It brings together scholars representing different approaches in a joint effort to explicate and analyse some of the key (...) issues underlying ecological theorizing, be they conceptual, epistemological or ontological. The bulk of the present collection is reprinted from Synthese 43 (1980). William C. Wimsatt's paper 'Reductionistic Research Strategies and Their Biases in the Units of Selection Controversy' is in turn reprinted from T. Nickles (ed.) Scientific Discovery: Case Studies (D. Reidel, 1980). It appears here with the kind permission of Prof. Nickles. The publisher's consent for the reprints has been in each case automatic. The essays of Y rjo Haila and Olli Jarvinen, and of Leigh M. Van Valen appear here for the first time. In bringing the present collection together, as well as in editing the Synthese symposium on which it is based, I have greatly benefited from the suggestions of Professors Marjorie Grene, Olli J iirvinen and Daniel Simberloff. In addition to them, I wish to thank all the contributors for their interest in this project. (shrink)

Has some of the fruit of feminism begun to rot on the vine? Or is the work of feminist philosophy just beginning? Are we still in thrall to pervasive sexist assumptions at the roots of our thinking and our language? With Marjorie Jolles, Ellen Klein, and Helen Mitchell.

At the very beginning of L’Homme-Machine, La Mettrie claims that Leibnizians with their monads have “rather spiritualized matter than materialized the soul”; a few years later Pierre-Louis Moreau de Maupertuis, President of the Berlin Academy of Sciences and natural philosopher with a strong interest in the modes of transmission of ‘genetic’ information, conceived of living minima which he termed molecules, “endowed with desire, memory and intelligence,” in his Système de la nature ou Essai sur les corps organisés. This text first (...) appeared in Latin in 1751 under the title Dissertatio inauguralis metaphysica de universali naturae systemate, with the pseudonym Dr Baumann; it was translated by Maupertuis in 1754 as Essai sur la formation des corps organisés and was later included in his 1756 Œuvres under the title Système de la nature. Now, it is clear that Maupertuis was a kind of Leibnizian; and that his molecule possessed higher-level, ‘mental’ properties. In that sense he falls under the first category described by La Mettrie. But he was also involved in a debate on this issue with Diderot, who put forth a sustained critique of Maupertuis’ theory of the molecule in the additions to his 1753 Pensées sur l’interprétation de la nature. Where Maupertuis attributes higher-level properties to his living minima, Diderot argues that these properties are ‘organizational’, i.e., they can only be properties of the whole. At issue here is the degree of commitment to a form of materialism. (shrink)

Ce livre étudie, à travers une série d'épisodes allant de la philosophie des Lumières à notre époque, le problème du matérialisme dans l'histoire de la philosophie et l’histoire des sciences. Comment comprendre les spécificités de l’histoire du matérialisme, des Lumières à nos jours, au sein de la grande histoire de la philosophie et de l’histoire des sciences ? Quelle est l’actualité de l’opposition classique entre le corps et l’esprit ? Qu’est-ce que le rire ou le rêve peuvent nous apprendre du (...) matérialisme ? En traversant l’histoire de ce concept jusqu’à l’émergence d’un « nouveau matérialisme » contemporain, l’ouvrage vise à revitaliser le matérialisme et sa lecture. -/- . (shrink)

How does our understanding of what it means to be rational affect our interpretation of the world around us? ... Essayists discuss the nature and extent of rationality - its content, focus, and the intrinsic guidelines for using the term "rational" when describing persons or actions. The distinguished contributors to this collection include Max Black, Steven J. Brams, James H. Bunn, Christopher Cherniak, Murray Clarke, Marjorie Clay, Paul Diesing, Antony Flew, John T. Kearns, D. Mark Kilgour, Hilary Kornblith, Charles (...) H. Lambros, Duncan MacIntosh, Alistair MacLeod, Robert G. Meyers, Erwin Segal, Zeno G. Swijtink, Brice R. Wachterhauser, and Paul Weirich. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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T. S. Champlin; VII*—Tendencies, Proceedings of the Aristotelian Society, Volume 91, Issue 1, 1 June 1991, Pages 119–134, https://doi.org/10.1093/aristotelian/9.

T H McLaughlin; Parental Rights and the Religious Upbringing of Children, Journal of Philosophy of Education, Volume 18, Issue 1, 30 May 2006, Pages 75–83, http.

In lieu of an abstract, here is a brief excerpt of the content:100 Feminist Studies 45, no. 1. © 2019 by Feminist Studies, Inc. Carla Pascoe Leahy From the Little Wife to the Supermom? Maternographies of Feminism and Mothering in Australia since 1945 Men didn’t do anything.... The mother did for the child. The father went out to work.... I was a very determined, modern woman, but I didn’t mind being the little wife. —Marjorie, 1950s mother1 There were competing (...) narratives. One was a woman’s place is full time mothering in the home.... And then there was the feminist movement which said women can do it all.... There was level of unreality about both of them. I did feel really conflicted. —Sally, 1970s mother I read a headline today that said I send my kids to childcare and I refuse to feel guilty.... I feel the guilt a little bit but not enough to stop me from sending them, and I still know that in the long run... it’s far better for me to work and... I don’t want to be a stay at home mum for the rest of my life. —Ariana, 2010s mother 1. All interviewees are referred to by pseudonyms. Where permission is granted by the interviewee, interview material is preserved at Museums Victoria in Melbourne, Australia. All interviews are in the possession of the author. “Marjorie” was interviewed by the author on June 27, 2014; “Sally” was interviewed by the author on March 8, 2014; “Ariana” was interviewed by the author on April 5, 2017. Carla Pascoe Leahy 101 The daily lives and long-term aspirations of Australian mothers have undergone significant changes over the past seventy years, alongside shifting cultural and personal concepts of mothering, employment, and female identity. At face value, these quotes from three generations of Australian mothers imply a trajectory of shifting understandings of care, work, gender, and subjectivity, with women’s self-identity increasingly associated with paid work outside the home. Each of these women positions herself in relation to the dominant gender culture at the time she experienced matrescence.2 Marjorie, who had her children in the 1950s, characterizes herself as “the little wife” and recalls being contented with her role as a stay-at-home mother. Sally, who became a mother in the late 1970s, remembers wanting to believe that “women can do it all” without sacrificing family or career, but she experienced this radical ideal as conflicted at both a cultural and personal level. Ariana, a twenty-first-century mother, feels ambivalent about sending her children to childcare, but had always assumed that she would combine paid work with mothering. Despite this seemingly linear progression from a female identity centered on mothering to one focused on paid work, I argue that closer attention to these maternal narratives reveals that changing gender discourses were experienced as riven with internal contradictions by individual mothers. Drawing on a new collection of fifty-six oral history interviews co-created with Australian women about their experiences of becoming mothers, I will analyze the ways in which changing cultural understandings of selfhood, work, care, and gender have played out in the lives of mothers from 1945 to the present. When I started this project, I envisaged it partially as a history of my grandmother’s, my mother’s, and my own maternal generations. In this sense, it is a record of the living memory of Australian mothering; an archive of the maternal memories still circulating in contemporary Australia. But it is also a history of Australian mothering before, during, and after the women’s liberation movement of the 1970s. The women’s movement initiated fundamental shifts in the ways Australians thought about women’s role in society, 2. Matrescence is a term coined by Dana Raphael to describe the experience of becoming a mother for the first time. See Dana Raphael, “Matrescence, Becoming a Mother, a ‘New/Old’ Rite de Passage,” in Being Female: Reproduction, Power, and Change, ed. Dana Raphael (Berlin: De Gruyter, 1975). 102 Carla Pascoe Leahy their relationships to men and children, and their capabilities in relation to paid and unpaid work. My contention is that the women’s liberation movement unsettled and complicated Australian women’s relationships to... (shrink)

J. Willard Gibbs derived the following equation to quantify the maximum work possible for a chemical reaction$${\text{Maximum work }} = \, - \Delta {\text{G}}_{{{\text{rxn}}}} = \, - \left( {\Delta {\text{H}}_{{{\text{rxn}}}} {-}{\text{ T}}\Delta {\text{S}}_{{{\text{rxn}}}} } \right) {\text{ constant T}},{\text{P}}$$ Maximum work = - Δ G rxn = - Δ H rxn - T Δ S rxn constant T, P ∆Hrxn is the enthalpy change of reaction as measured in a reaction calorimeter and ∆Grxn the change in Gibbs energy as measured, if (...) feasible, in an electrochemical cell by the voltage across the two half-cells. To Gibbs, reaction spontaneity corresponds to negative values of ∆Grxn. But what is T∆Srxn, absolute temperature times the change in entropy? Gibbs stated that this term quantifies the heating/cooling required to maintain constant temperature in an electrochemical cell. Seeking a deeper explanation than this, one involving the behaviors of atoms and molecules that cause these thermodynamic phenomena, I employed an “atoms first” approach to decipher the physical underpinning of T∆Srxn and, in so doing, developed the hypothesis that this term quantifies the change in “structural energy” of the system during a chemical reaction. This hypothesis now challenges me to similarly explain the physical underpinning of the Gibbs–Helmholtz equation$${\text{d}}\left( {\Delta {\text{G}}_{{{\text{rxn}}}} } \right)/{\text{dT}} = - \Delta {\text{S}}_{{{\text{rxn}}}} \left( {\text{constant P}} \right)$$ d Δ G rxn / dT = - Δ S rxn constant P While this equation illustrates a relationship between ∆Grxn and ∆Srxn, I don’t understand how this is so, especially since orbital electron energies that I hypothesize are responsible for ∆Grxn are not directly involved in the entropy determination of atoms and molecules that are responsible for ∆Srxn. I write this paper to both share my progress and also to seek help from any who can clarify this for me. (shrink)

T. L. S. Sprigge; I *—The Presidential Address: The Unreality of Time, Proceedings of the Aristotelian Society, Volume 92, Issue 1, 1 June 1992, Pages 1–20, htt.

Why should Aristotle reject his own criteria for a science to admit this puzzling science of being? Or does he really reject them? Perhaps the science of being is not intended to be a universal science of the type rejected elsewhere. The Metaphysics and the Organon are not concerned with exactly the same questions; and verbal differences may not reflect real or important doctrinal conflicts.

I would like to take this opportunity to express my thanks to colleagues whose suggestions have been essential: Karl S. Bottigheimer, Pierre H. Boulle, L. Perry Curtis, Arnold Esch, Marjorie M. Farrar, John R. Gillis, James Joll, Richard F. Kuisel, Alan Lawson, Philip T. Nicholson, James J. Sheehan, Robert Young.