The representations formed by the ventral and dorsal streams of a prelinguistic agent will tend to be too qualitatively similar to support the distinct roles required by PREDICATE(x) structure. We suggest that the attachment of qualities to objects is not a product of the combination of these separate processing streams, but is instead a part of the processing required in each. In addition, we suggest that the formation of objective predicates is inextricably bound up with the emergence of language itself, (...) and so cannot be cleanly identified with any prelinguistic cognitive capacities. (shrink)

The violent and ritualistic world of Flannery O'Connor's fiction is neither realistic nor naturalistic but surrealistic, a series of parables that are harshly and defiantly spiritual.

Tax administrators are empowered by the state to secure compliance with tax obligations. Enforcing compliance on the ground is complex, and street-level administrators often engage in the “art of the possible,” leading to dilemmas in the field. This paper examines tax administrators’ practices with regard to Jamaican property tax defaulters with outstanding tax liabilities in excess of 3 years. Drawing on interviews with tax administrators and other key agents, we find that tax administrators reposition themselves from objective enforcers to empathizing (...) officials engaging in schemes of action, doing what they can do rather than what they should do. This is a practical-sense approach to securing compliance. We identify two forms of empathy, assimilated and cynical, and conclude that administrators’ empathetic identification with defaulters does not necessarily arise solely from concern for social cohesion, or inter-subjective compassion, but also sometimes from self-interest. (shrink)

We present an analysis of over 400 comments about complying with tax obligations extracted from online discussion forums for freelancers. While the topics investigated by much of the literature on taxpayer behaviour are theory driven, we aimed to explore the universe of online discussions about tax in order to extract those topics that are most relevant to taxpayers. The forum discussions were subjected to a qualitative thematic analysis, and we present a model of the ‘universe’ of tax as reflected in (...) taxpayer discussions. The model comprises several main actors and describes the multiple ways in which they relate to taxpayers’ behaviour. We also conduct a more focused analysis to show that the majority of taxpayers seem unconcerned with many of the variables that have been the focus of tax behaviour research, and that most people are motivated to be compliant and are more concerned with how to comply than whether to comply. Moreover, we discuss how these ‘real-world’ tax discussions question common assumptions in the study of tax behaviour and how they inform our understanding of business ethics more generally. (shrink)

This paper explores the marginalized practice of sportswriting to demonstrate the limited ways in which the question "who is a journalist?" has been answered within the profession. Following John Dewey and Raymond Williams, we offer an alternative view of democratic culture that values narrative as well as information. We also discuss how "New Journalists" (and other writers since), in their quest for fresh, sophisticated storytelling strategies, turned to sports as a cultural activity worthy of serious examination. Our goal is to (...) demonstrate that sportswriting fundamentally resembles other forms of reporting and that journalism should not use sports as an ethical straw man against which to defend the virtue of its serious work. This suspension of our usual ethical judgments would deepen our sense of the moral significance of sportswriting and allow us to rethink journalism's relation to democratic culture in productive new ways. (shrink)

The description for this book, Aristotle and the Problem of Value, will be forthcoming.

In Paradise Wild, David Oates addresses this and many other provocative questions as he explores the persistent myth of Eden from several different angles. As a lifelong mountaineer and reader of nature literature, as a scholar, as a descendant of naturalist William Bartram, and as a gay ex-Baptist who took to the mountains to test his masculinity, Oates has thought deeply about how nature and culture interact in our lives and about the contemporary debate over wilderness and environment. (...) Paradise Wild brings all these elements together in a lively, genre-hopping book that will move readers emotionally and intellectually, at the same time that it contributes to the ongoing debate in scholarly and environmental circles over the meaning of "nature" and "wilderness." Paradise Wild tells stories, explores major scholarship and literature of nature, and analyzes how the misapplied myth of Eden has mired Americans in a hopeless "Paradise Lost" mentality that belies the true, ever-present wildness in our lives. Oates argues that mourning for a lost paradise is a dead end that cannot help us combat the real damage we're doing to ourselves and the rest of the world. He proposes a healthy re-mythologizing of the Eden story as a way of celebrating "wildness" -- the Eden in each moment and in each cell, that cannot be lost. His book is about welcoming that wildness into the midst of daily life. This bold and original work will appeal to general readers as well as to scholars and students with an interest in environmental literature and philosophy, nature writing, cultural studies, and queer studies. (shrink)

Beyond the defiance of the young iconoclast—Wilde himself, of course—and the rather perfunctory curve of Dorian Gray to that gothic final sight , there is another, possibly less strident, but more central theme. That one is damned for selling one's soul to the devil is a commonplace in legends; what arrests our attention more, perhaps, is Wilde's claim or boast or worry or warning that one might indeed be poisoned by a book . . . and that the artist, even (...) the presumably "good" Basil Hallward, is the diabolical agent. Wilde's novel must be seen as a highly serious meditation upon the moral role of the artist—an interior challenge, in fact, to the insouciance of the famous pronouncements that would assure us that there is no such thing as a moral or an immoral book or that all art is "quite useless." Wilde's genius was disfigured by his talent: he always sounds much more flippant, far more superficial, than he really is. So one always say about Dorian Gray, with an air of surprise, that the novel is exceptionally good after all—and anyone who has read it recently replies, with the same air of faint incredulity, yes, it is exceptionally good—in fact, one of the strongest and most haunting of English novels. Yet its reputation remains questionable. Gerald Weales virtually dismisses it as "terribly fin de siècle " in a rather flippant introduction to the novel, and it would be difficult to find a critic who would choose to discuss it in terms other than the familiar ones of decadence, art for art's sake, art as "the telling of beautiful untrue things." Joyce Carol Oates has written, among others, Bellefleur, Childhood, a collection of short stories, Nightside, and Son of the Morning. Her contributions to Critical Inquiry, include "Jocoserious Joyce" and "Lawrence's Gotterdammerung". (shrink)

Ulysses is certainly the greatest novel in the English language, and one might argue for its being the greatest single work of art in our tradition. How significant, then, and how teasing, that this masterwork should be a comedy, and that its creator should have explicitly valued the comic "vision" over the tragic—how disturbing to our predilection for order that, with an homage paid to classical antiquity so meticulous that it is surely a burlesque, Joyce's exhibitionististicicity is never so serious (...) as when it is most outrageously comic. Joyce might have been addressing his readers when he wrote to Nora in 1909: "Now . . . I want you to read over and over all I have written to you. Some of it is ugly, obscene, and bestial, some of it is pure and holy and spiritual: all of it is myself." Joyce Carol Oates is the author of, among others, them, Wonderland, and The Assassins. "Jocoserious Joyce" is part of a book on tragedy and comedy. Her contributions to Critical Inquiry, include "Lawrence's Gotterdammerung" and “The Picture of Dorian Gray: Wilde's Parable about the Fall". (shrink)

In his travels, and in his accompanying readings, he had come to the conclusion that the essential secret of life was harmony. . . . And he proceeded to put his philosophy into practice by forcing order into the established world, translating the mystic word harmony into the practical word organisation.1 Harmony becomes organization. And Gerald dedicates himself to work, to feverish, totally absorbing work, inspired with an almost religious exaltation in his fight with matter. The world is split in (...) two: on one side matter , on the other side his own isolated will. He wants to create on earth a perfect machine, "an activity of pure order, pure mechanical repetition"; a man of the twentieth century with no nostalgia for the superannuated ideals of Christianity or democracy, he wishes to found his eternity, his infinity, in the machine. So inchoate and mysterious is the imaginative world Lawrence creates for Women in Love that we find no difficulty in reading Gerald Crich as an allegorical figure in certain chapters and as a quite human, even fluid personality in others. As Gudrun's frenzied lover, as Birkin's elusive beloved, he seems a substantially different person from the Gerald Crich who is a ruthless god of the machine; yet as his cultural role demands extinction , so does his private emotional life, his confusion of the individual will with that of the cosmos, demand death—death by perfect cold. He is Lawrence's only tragic figure, a remarkable creation on a remarkable novel, and though it is a commonplace thing to say that Birkin represents Lawrence, it seems equally likely that Gerald Crich represents Lawrence—in his deepest, most aggrieved, most nihilist soul. · 1. All quotations from Women in Love are taken from the Modern Library edition. Joyce Carol Oates' works include the novels Childhood, Son of the Morning, and a collection of short stories, Night-Side. “Lawrence’s Götterdämmerung” is part of a larger work exploring tragedy and comedy. Her contributions to Critical Inquiry include "Jocoserious Joyce" , and "The Picture of Dorian Gray: Wilde's Parable about the Fall". (shrink)

Emily Dickinson is the most paradoxical of poets: the very poet of paradox. By way of voluminous biographical material, not to mention the extraordinary intimacy of her poetry, it would seem that we know everything about her; yet the common experience of reading her work, particularly if the poems are read sequentially, is that we come away seeming to know nothing. We could recognize her inimitable voice anywhere—in the “prose” of her letters no less than in her poetry—yet it is (...) a voice of the most deliberate, the most teasing anonymity. “I’m Nobody!” is a proclamation to be interpreted in the most literal of ways. Like no other poet before her and like very few after her—Rilke comes most readily to mind, and, perhaps, Yeats and Lawrence—Dickinson exposes her heart’s most subtle secrets; she confesses the very sentiments that, in society, would have embarrassed her dog . Yet who is this “I” at the center of experience? In her astonishing body of 1,775 poems Dickinson records what is surely one of the most meticulous examinations of the phenomenon of human “consciousness” ever undertaken. The poet’s persona—the tantalizing “I”—seems, in nearly every poem, to be addressing us directly with perceptions that are ours as well as hers. The poems’ refusal to be rhetorical, their daunting intimacy, suggests the self-evident in the way that certain Zen koans and riddles do while being indecipherable. But what is challenged is, perhaps, “meaning” itself: Wonder—is not precisely KnowingAnd not precisely Knowing not—A beautiful but bleak conditionHe has not lived who has not felt—Suspense—is his maturer Sister—Whether Adult Delight is PainOr of itself a new misgiving—This is the Gnat that mangles men— [1331, ca. 1874]1 1. The Complete Poems of Emily Dickinson, ed. Thomas H. Johnson ; subsequent references in the text to the poems will cite the Johnson number and the date assigned by Johnson to each poem. Joyce Carol Oates is the Roger S. Berlind Distinguished Lecturer at Princeton University and the author most recently of the booklength essay On Boxing. “Soul at the White Heat” will be included in her book of essays, Writer: Occasions and Opportunities, to be published in the spring of 1988. (shrink)

The observation that agents and structures are co-constituted is now commonplace, yet scholars continue to struggle to incorporate this insight. Rationalists tend to overemphasize actors’ agency in the constitution of social order while constructivists tend to overstate the degree to which structures determine action. This article uses The Gift to rethink the agent–structure debate, arguing that the model of social relations Mauss outlines in this work sheds new light on basic concepts in international relations theory such as reciprocity, hierarchy, and (...) obligation. Mauss’ social theory locates the generative structure of social order in diffuse exchange relations, what he terms gift exchange, and assumes that actors are both socially positioned within hierarchical relations of exchange and reflexive agents who are able to understand and strive to change those relations. In so doing, he avoids reducing social order to either deeply internalized social norms or instrumental interests, navigating between ag... (shrink)

Despite the harsh scientific basis of Social Darwinism, its followers strove to unify nature with humane feelings—for world views necessarily attempt such reconciliations. To answer the difficult “problem of evil” posed by natural selection and survival of the fittest, Social Darwinists such as Charles Darwin, Alfred Russel Wallace, and Herbert Spencer resorted to three kinds of theodicy: sentimental denial of the problem, belief in progress, and belief in perfection. Spencer's writings particulary display at different times both a rigid individualism and (...) a softer organicism. Eventually, however, T. H. Huxley would abandon the attempt, acknowledging in effect that no complete world view was possible. (shrink)

Combining art historical and biblical scholarship, this article examines John 11 to offer textual reasons for the unique motifs and composition in Caravaggio's Raising of Lazarus (1608–09) and to provide greater insight into the painting and its source.