It is shown that the jet mechanism derivable from the Lorentz deformation picture leads to a nearly constant average jet transverse momentum. It is pointed out that this is consistent with the high-energy experimental data. It is pointed out further that this result strengthens the physical basis for the minimal time-energy uncertainty combined covariantly with Heisenberg's space-momentum uncertainty relation.

It is shown that the Lorentz-deformation property discussed in previous papers is consistent with the hadronic jet phenomenon in high-energy production processes.

Dans cette contribution, nous présentons la base CLAPI développée au laboratoire ICAR dans le contexte de l’évolution des bases de données de langues parlées en France au cours des trente dernières années. Nous détaillons les deux composantes de CLAPI, l’archive de corpus de langue parlée en interaction audio et vidéo enregistrés dans des situations sociales naturelles variées, et la plateforme d’outils.L’usage et l’apport de CLAPI sont illustrés par deux études. L’une décrit comment la base peut être utilisée pour des travaux (...) de linguistique interactionnelle intégrant la multimodalité (« oh là là ») ; l’autre concerne une recherche combinant données et métadonnées (« trop »). L’article est aussi l’occasion d’un bilan plus général. La mise en perspective montre en effet qu’après la période des questions est venue celle des dilemmes. La période des questions, choix et décisions à toutes sortes de niveaux a accompagné la mise en place des bases de données. L’expérience permet maintenant de mesurer leurs indéniables apports en termes non seulement de quantité de données disponibles (et traitables grâce aux outils), mais aussi de qualité (comme conséquence des exigences de standardisation liées au partage des données). La période des dilemmes nous conduit à nous interroger sur les meilleurs choix à opérer aujourd’hui dans les relations entre la poursuite des recherches sur des corpus variés (et parfois sensibles) et les exigences des bases de données ouvertes. (shrink)

Irene Oh affirms that religious freedom, faith, and reason, as David Hollenbach suggests, are subject matters that offer promising platforms for interreligious dialogue between Christians and Muslims. The need for cross-cultural understanding is imperative especially given the current political climate, in which world leaders can easily exacerbate existing tensions through the misapplication of such terms. Sohail H. Hashmi addresses the need to discuss women's rights as part of a larger discussion on human rights in Islam. Oh concurs and notes that (...) Sayyid Qutb's remarks on women in the United States serve as a starting point for clarifying women's agency in Islam. (shrink)

Richard Janko's acclaimed translation of Aristotle's _Poetics_ is accompanied by the most comprehensive commentary available in English that does not presume knowledge of the original Greek. Two other unique features are Janko's translations with notes of both the _Tractatus Coislinianus_, which is argued to be a summary of the lost second book of the Poetics, and fragments of Aristotle’s dialogue On Poets, including recently discovered texts about catharsis, which appear in English for the first time.

This review of Irene Oh's The Rights of God focuses on women's rights in Islamic theory and practice. Oh suggests that religious establishments, and the texts they disseminate, often press believers to recognize and reject social problems, such as racial and gender discrimination. Islamic scholars and texts have played a more ambiguous role in efforts to recognize women's rights within Muslim states. Modernist intellectuals have used Islamic texts to support the advancement of women's rights, but members of the more conservative (...) religious establishment have typically curbed or rejected these efforts. Muslim women themselves have established various responses to the question of Islam's compatibility with women's rights. While some embrace the value and compatibility of both, others reject the propriety of either Western conceptions of rights, or the Islamic tradition, as harmful for women. Muslim reformers and feminists have much to learn from comparative studies with other faith communities that have undergone similar struggles and transformations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“The Whole Internal World His Own”: Locke and Metaphor ReconsideredS. H. ClarkWhy need I name thy Boyle, whose pious search, Amid the dark recesses of his works, The great Creator sought? And why thy Locke, Who made the whole internal world his own?Oh decus! Anglicae certe oh lux altera gentis!... Tu caecas rerum causas, fontemque severum Pande, Pater; tibi enim, tibi, veri magne Sacerdos, Corda patent hominum, atque altae (...) penetralia Mentis.Fourfold Annihilation & at the clangor of the Arrows of Intellect The innumerable Chariots of the Almighty appeard in Heaven And Bacon & Newton & Locke, & Milton & Shakespear & Chaucer1Two features of these encomia to John Locke, composed by James Thomson, Thomas Gray, and William Blake, are immediately striking. Firstly, they are delivered by poets in a tradition customarily seen as a reaction to the intellectual climate induced by Locke’s Essay, a book which Blake famously claimed to regard with “Contempt and Abhorrence.” 2 Secondly, the familiar and somewhat hackneyed characterizations of Locke as philosopher of common-sense, [End Page 241] empiricism, and liberal ideology are refreshingly absent. For Gray he is “veri magne Sacerdos,” great priest of truth; Thomson places him in a pantheon including Shakespeare, Milton, Spenser, and Chaucer; and this ranking is explicitly endorsed in Blake’s “Milton & Shakspear & Chaucer.” Comparable praise of Locke’s imaginative power is conspicuously absent from even the most generous tributes of recent commentators. 3Even if Locke’s philosophical contribution to a variety of debates is fully acknowledged, the question remains of why his major work, An Essay concerning Human Understanding, was held in such high popular esteem—veneration is not too strong a word—during the subsequent century. The text itself appears an improbable candidate for such canonization: George Saintsbury accused its prose of being “positively mean in every point of style,” 4 and certainly in comparison with the poised and lucid ironies of Berkeley and Hume, it cannot but appear prolix, diffuse, and repetitive. The chief (and frequently only) merit grudgingly accorded to it is of disarming informality. Rosalie Colie’s emphasis on the “exploitation of the generic and rhetorical possibilities in the essay form itself “ highlights the conscious manipulation of authorial distance through which Locke creates the effect of sprawling inclusiveness and incom-pletion, but at the expense of conceding that “in exchange for the frankness with which the essayist appeared to present his thinking self, he was allowed certain liberties from logical rigour.” 5 Though the suggestion that a major philosophical text seeks to evade “logical rigour” might seem damning enough, there is a still more insidious equation of Locke’s “middle-style,” his desire “to make, what I have to say, as easie and intelligible to all sort of Readers as I can,” with a complicity with the expectations of his audience. 6 Other critics, notably John Richetti, have put a more positive gloss on the “simple and fortuitously concocted circle of friends” to whom the Essay is addressed, but even these accounts have been obliged to stress the representative and consensual nature of Locke’s thought. 7 This view is perhaps most elegantly expressed by Leslie Stephen: “Locke ruled the thought of his own and the coming period [End Page 242] because he interpreted so completely the fundamental beliefs which had been worked out at this time. He ruled, that is, by obeying.” 8William Walker correctly observes that “identifying and interpreting metaphors of mind” in the Essay are “standard practices of mainstream philosophical commentary from Leibniz to Rorty,” but also notes that these analyses are usually concerned with the degree to which Locke’s reliance on figuration was at variance with and compromised his epistemological doctrine. 9 I would argue that the poetic tributes previously quoted offer a more suggestive and adequate guide to the original impact of his work. In order to substantiate this claim, I shall begin by examining Locke’s apparent renunciation of, yet paradoxical dependence upon metaphor; go on to look at the connection of the “Horizon” to the elegiac presentation of memory and the ethic of mental “Labour”; and conclude by analyzing the complex interdependence of candle and sun within the light imagery employed in the... (shrink)

My office is in a medical building in suburban Washington, D.C. —in Bethesda, named for the Biblical healing pool. All of the offices of my building are occupied by medical specialists, representing the most sophisticated training in the application of the scientific method. Downstairs and of service to all of us is a pharmacy, looking for all the world like a research laboratory with its gleaming surface, meticulous cleanliness, micro-balances, records, reference books, and cash register. It is neatly stocked with (...) modern, physiologically-defined preparations of active, predictable drugs. Among the enzymes, hormones, antibiotics, and chemo therapeutics for neoplasm, are a few newly hatched, unfledged remedies, but most are dependable and thoroughly assayed. The intently busy, white-coated, unsentimental pharmacists serve a hard-headed group of practitioners and a neighborhood of upper-class, well-educated patients. It is disconcerting, then, to see the undersurface of this sophistication, the irrational shadows beneath the science. On the front counter of the pharmacy are displayed attractive colored advertisements and pleasantly seductive inducements to self-improvement through diet cults and foods, tranquilizers, energizers, protein supplements, happiness promisers, preparations to enhance sexuality, vitamins artfully combined, and many packeted stuffs of no rational or pretended use whatsoever. “Why,” I ask the gimlet-eyed pharmacist, “do you have this large display of ‘Il Wah Genuine Chinese Ginseng, the Miraculous Herb of Life’? Doesn't it violate your university training? Your integrity as a modernist?” “Oh,” says he, “ginseng makes you feel better! You have more energy. You can do more! Lots of athletes use it, and people who work too hard and feel exhausted. It's only $3.45 a package. The prescriptions you give me once in a while yield no profit, but I sell a lot of ginseng. I use it myself!” Bemused, I walk back to my office, wondering about the easy abandonment of rationality, and pull down a box of medicinals collected the year before at an open-air pharmacy in the riverside markets of Brazil. The box gives forth deliciously rich forest smells. The packets within contain barks, roots, seeds, all of purported medical value. Other packets have amulets, charms, and protectives. The colorful labels on some of the patent medicines invoke ancient saints and healers, and promise happiness, health, prosperity and power. The essential rationale for their use in indigenous medicine was illusive to me despite many conversations with indigenous healers, and many times I have gone through the hundreds of items trying to find the key to what Brazilian and North American people fundamentally want from a pharmacy. In both cultures, where does magic stop and science begin? Do shops in both countries vend talismans in the search for the enhanced life, and fetishes against death? How much of all drug use is ritual and inchoate expectation? How can we reduce the mystification and incrementally increase the rationality of our pharmacopeia? (shrink)

The music of Christoph Willibald von Gluck was a revolution for Paris operagoers when his work premiered there in 1774. In a setting known for its restive and often rowdy spectators, Alceste, Iphigénie en Aulide, and Orpheé et Eurydice seized audiences with unprecedented force. They shed silent tears or sobbed openly, and some cried out in sympathy with the sufferers onstage. “Oh Mama! This is too painful!” three girls called out as Charon led Alcestis to the underworld, and a boy (...) pleaded with his father to take him home. A woman who watched the same performance described falling on her knees in her opera-box as the march of the priests of Apollo began, staying in this position “suppliant and with my hands clasped until the end of the piece.”Gluck's streamlined musical language was one reason for these emotional responses. He and his librettist Ranieri de’ Calzabigi simplified the conventions by eliminating extraneous subplots, abandoning the repetitive da capo form, and replacing trills and runs with simpler melodies meant to convey passion. Another reason was the widespread culture of sentimentalism, which equated virtue with sincerity and judged tears to be the natural sign of an open heart. Painters depicted tender and tumultuous family scenes, and friends pledged trembling vows of fidelity. Listeners were also readers, and many described similar tearful responses when they read the century's bestseller, Rousseau's novel Julie; or, The New Heloise.Everist, a musicologist, takes up the story of Gluck in France in the nineteenth century, when the German composer remained a presence in repertoires. No longer prone to tears, the public was often indifferent and sometimes hostile to his works. Conductors and composers nevertheless persisted in promoting Gluck's music. Between 1828 and 1870, operatic excerpts appeared roughly twice a year in performances of the prestigious Société des Concerts, and the charismatic conductor Jules Pasdeloup regularly programmed his music. Many listeners remained unconvinced. A writer in 1861 described the “sepulchral boredom that reigned the length of all five acts” of Alceste. The periodical Monde dramatique used the same language to characterize Gluck's music: it was “profoundly boring.” After a high point of performances in the middle of Napoleon III's reign, Gluck disappeared from the Paris opera and concert stage for some thirty years.Everist's aim in this slim book is to isolate the “agents” involved in the French reception of Gluck. Traditional reception histories might begin with Gluck and his aims, identifying musical features, particular responses of audiences, critics’ accounts, and perhaps the more elusive temper of the times. Everist focuses instead on less conspicuous networks of impresarios, theater directors, and publishers. In his telling, such agents also include journalists and writers of fiction. The avowed effort is to decenter the artist and his art to emphasize the limited role that composers and librettists play in the performance of an opera. A quoted passage in the book reminds us that without parking attendants, stagehands, and ticket sellers the show could not go on. True enough. Genealogies of Music and Memory therefore provides tables listing Gluck arias in anthologies, particular singers’ performances, works by composers other than Gluck who also drew themes from classical antiquity, and works by other foreign-born composers. A section on “material culture” lists paintings and sculptures of Gluck in Paris theaters and museums.As a “genealogy,” the book is a salutary reminder of the web of amateurs and professionals who discuss, promote, and perform works that others have created. Writers such as E. T. A. Hoffmann, Mme de Staël, and Hippolyte Taine held up Gluck as the embodiment of German music. Hector Berlioz wrote frequently and enthusiastically about Gluck, although he was less keen to program his music. The singers François Delsarte and Pauline Viardot aroused temporary interest in Gluck by regularly including his arias in their recitals. Musical anthologies for the bourgeois household included piano arrangements of his best-known arias. Some nineteenth-century adaptations of his works were scored for the military band.Genealogies of Music and Memory is musicology with very little music. Everist's reliance on networks of actors, agents, publishers, pedagogical practices, and archival environments leads him to assert that “multiple agency is endemic in the story told here.” Unfortunately, it is often unclear just what the story is. Carelessness in writing and editing throughout—including a subject-verb clash in the book's final sentence—has rendered key passages obscure. Everist describes Delsarte's voice as feeble, broken, veiled, and ready to be extinguished twice in the same paragraph, first as a paraphrase and again in a quotation (with a misplaced comma).Decentering artists and their work to elevate others responsible for its reception brings attention to the unseen and often unsung. In the absence of particular performance histories, musical analyses and description, or sustained accounts of shared tastes or critical responses, however, conclusions remain piecemeal. Everist claims to have revealed a “Geertzian web of culture” in his study. A more modest account would describe it as an enumeration of references, revivals, editions, excerpts, and arrangements. (shrink)

This inclusive, cross-cultural study rethinks the nexus between engineering, development, and culture. It offers diverse commentary from a range of disciplinary perspectives on how the philosophies of today’s cultural triumvirate—American, European and Chinese—are shaped and given nuance by the cross-fertilization of engineering and development. Scholars from the humanities and social sciences as well as engineers themselves reflect on key questions that arise in this relational context, such as how international development work affects the professional views, identities, practice and ethics of (...) engineers. The first volume to offer a systematic and collaborative study that cuts across continental boundaries, the book delineates the kinds of skills and competences that tomorrow’s engineering success stories will require, and analyzes fascinating aspects of the interplay between engineering and philosophy, such as how traditionally Chinese ways of thinking can influence modern engineering practice in the world’s most populous country. China’s problematic mix of engineering woes and wonders, from the high-profile crash on its high-profile rail network to its ‘bird’s nest’ Olympic stadium, adds to the urgency for reform, while Europe’s Enlightenment-informed legal frameworks are contrasted with Chinese mechanisms in their governance of the field of nanotechnology, a crucial element of future technical evolution. Fascinating and compelling in equal measure, this volume addresses one of the topics at the leading edge of humanity’s quest to survive, and to thrive.​. (shrink)

A distinction is commonly drawn between continuous sedation until death and physician-assisted suicide/euthanasia. Only the latter is found to involve killing, whereas the former eludes such characterization. I argue that continuous sedation until death is equivalent to physician-assisted suicide/euthanasia in that both involve killing. This is established by first defining and clarifying palliative sedation therapies in general and continuous sedation until death in particular. A case study analysis and a look at current practices are provided. This is followed by a (...) defense of arguments in favor of definitions of death centering on higher brain (neocortical) functioning rather than on whole brain or cardiopulmonary functioning. It is then shown that continuous sedation until death simulates higher brain definitions of death by eliminating consciousness. Appeals to reversibility and double effect fail to establish any distinguishing characteristics between the simulation of death that occurs in continuous sedation until death and the death that occurs as a result of physician-assisted suicide/euthanasia. Concluding remarks clarify the moral ramifications of these findings. (shrink)

Confucianism’s long historical association with despotism has cast doubts on its compatibility with democracy, and raise questions about its relevance in contemporary societies increasingly dominated by democratic aspirations. “Confucian democracy” has been described as a “contradiction in terms” and Asian politicians have appropriated Confucianism to justify resistance to liberalization and democratization. There has been a lively debate over the question of whether democracy can be found in Confucianism, from ancient texts such as the Analects and Mencius, to Confucian institutions such (...) as those recommended by Song dynasty Huang Zongxi. Philosophers have examined similarities and differences between Western ideas, such as autonomy, liberty, and rights, that are central to democratic theories on the one hand and Confucian ideas of virtue, ren, yi, li, zhi, exemplary person and authority. Scholars have studied the biographical accounts of prominent Confucians to understand the Confucian ideal person and society. Works arguing that there are elements of democracy in Confucianism, or that some Confucian ideas could provide the basis for a contemporary Confucian democracy, differ in the kind of democracy they choose as models. Liberal democracy was the model of earlier works; with increasing criticisms of liberal democracy in the past decades, a growing number of works arguing for Confucian democracy seek alternatives to liberal democracies, many proposing some kind of communitarian democracy as having affinity with the Confucian philosophical orientation. Besides conceptions of democracy that view it in terms of political systems, Dewey’s conception of democracy as the idea of community and primarily a moral ideal has also inspired attempts to reconstruct Confucian democracy. (shrink)

It is often alleged that liberalism and nationalism are mutually antagonistic in theory and practice. Max Weber is a good example, the dominant interpretation maintains, as his political thought betrays its liberal foundation by embracing an ardent nationalism that was popular in Wilhelmine Germany. Weber was, in short, a nationalist, and thus illiberal, political thinker. Against this conventional wisdom I argue that Weber's liberal nationalism cannot be placed squarely in the authoritarian, ethnic tradition of German nationalism, and its idiosyncrasy becomes (...) evident once Weber's twofold political project of revivifying a robust civil society while imbuing it with the spirit of public citizenship is foregrounded more clearly. Thus recast, Weber's political thought reveals a strong affinity with that of Tocqueville and Mill, especially in their similar concern with moral personality and political maturity in a mass democracy. (shrink)

In Satire 3, Umbricius states his intention to leave Rome and delivers a long explanation of his decision, an explanation which develops into an invective against life in Rome. In the lines quoted above, Umbricius lists the ‘skills’ which are essential for success at Rome, ‘skills’ which he does not possess. The list comprises various mendacious, nefarious and criminal activities; Umbricius' stated inability to undertake such activities reinforces his claim to be a simple, honourable man . In this list is (...) his claim ‘I have never examined frogs’ entrails'. TLL glosses this passage ‘’ , the view taken by Friedländer too . Courtney takes a different view: ‘Presumably not for poisoning, which inspicere would hardly suit, but of divination … of an oriental type.’. (shrink)

A statement in contemporary terms of an Aristotelian approach to ethics, spiced with numerous illustrations from the modern arts and sciences. Veatch attempts to persuade the reader of the importance of the moral and intellectual virtues for leading an ethical life, and ends with a definition of the good "simply as the perfect with respect to the imperfect, the complete with respect to the incomplete, the actual with respect to the potential". He argues against ethical relativism and scepticism, Platonic "intellectualism", (...) Utilitarianism, the contemporary second-intentional linguistic approach, and certain aspects of existentialism.--A. S. H. (shrink)