"Let him, therefore, who would arrive at a knowledge of nature, train his moral sense; let him act and conceive in accordance with the noble essence of his ...

In a recent Target Article Naomi Scheinerman (2023a) has offered an important and compelling call to institutionalize popular participation for heritable genome engineering through the inclusion of...

Two of the lead articles in this issue examine the emerging practice of organ procurement by normothermic regional perfusion (NRP) in terms of whether or not these patients are “dead” at the time t...

Summary Samuel Parkes, an early nineteenth century chemist, combined in his remarkable career the role of chemical manufacturer, author, and man of affairs. His Chemical Catechism, which appeared between 1806 and 1825 in twelve successive editions, attracted large numbers of students to the pursuit of chemical sciences by its lively and attractive-yet-rigorous presentation. His important Chemical Essays contributed significantly to the progress of chemical technology. Both works exerted wide influence by their publication in several editions in America and, (...) in translation, in France, Germany, and Italy. Parkes was the principal chemical witness before Parliamentary Committees of Inquiry, and was one of the chief movers in the long and eventually successful campaign aimed at abolishing the oppressive Salt Duties which had exerted a very harmful effect on the national economy. In company with eminent chemists of the day, he gave evidence in important civil trials. Parkes' enthusiastic championship of chemistry at all levels, and his colourful personality, made him an outstanding figure on the contemporary scientific scene. (shrink)

The somewhat old-fashioned concept of philosophical categories is revived and put to work in automated ontology building. We describe a project harvesting knowledge from Wikipedia’s category network in which the principled ontological structure of Cyc was leveraged to furnish an extra layer of accuracy-checking over and above more usual corrections which draw on automated measures of semantic relatedness.

Where one stands to engage with the world is not as some New Age Psychologists continue to argue, completely free and self-determined. Rather, it is formed largely beyond one’s control and is fraught with both dangers and opportunities. This pre-determined point of view is referred to as the Assumptive World (Parkes, 1975). This is defined as a “strongly held set of assumptions about the world and the self that is confidently maintained and used as a means of recognizing, planning (...) and acting…Assumptions such as these are learned and confirmed by the experience of many years” (Parkes, 1975, p. 132). There are, further, levels and intensities of assumptions, as refined by Janoff-Bulman, R. (1992). These assumptions form the centre point of our world and our consciousness. They are so much a part of us that we tend not to challenge them. Though unchallenged, these assumptions nevertheless drive our behaviors, set our expectations, and operationalize our moral views. (shrink)

Vorwort von dr. H. Weber. -- Betrachtungen über das denken und träumen und über die Freudsche erklärung der träume. -- Die erstürmung des neuen Jerusalem: ein traum. -- über alpdrücken und Freudsche deutungen. -- Kurze bemerkungen über willensfreihet und erblichkeit. -- Spielleidenschaft. -- Körperbewegung, arbeit, ruhe und schalaf: Aussprüche in bezung auf ihren hygienischen und psychischen wert usw. -- Zur frage des therapeutischen fastens und der beschränkten nahrungsaufnahme. -- Eine betrachtung über den nutzen des schocks oder der aufnahme. -- Eine (...) betrafchtung über den autzen des schocks oder der "abwechslung" bei gewissen körperlichen und seelischen zuständen. -- Die ärztliche versorgung der allgemeinheit und ihre wahrscheinlichen folgen. -- Wirkungen und gegenwirkungen in der pathologie und therapie. -- Zur frage von selbsttätigen, lebenswichtigen, als ein sicherheitsventil anzusehenden wirkungen und gegenwirkungen bei erkrankungen. -- Über den circulus vitiosus bei krankheiten und über die anstrengungen der natur, ihn zu durchbrechen. -- Das teleologische bild des krebses und der neubildungen. -- Samuel Butlers anschauungen : Zellgedächtnis "mneme." -- Die "rechte" der völker im vergleich zu den "rechten" der einzelmenschen und die fragen zwischenstaatlicher schiedsgerichtshöfe. -- Grausamkeit, kriegsgreuel und greuelfabeln. -- Natur und Gott : Bemerkungen über "natur," lebensführung und pflicht vom entwicklungsgeschichtlichen standpunkt aus gesehen. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

This book argues that we have moved into a new cultural period, automodernity, which represents a social, psychological, and technological reaction to postmodernity. In fact, by showing how individual autonomy is now being generated through technological and cultural automation, Samuels posits that we must rethink modernity and postmodernity. Part of this rethinking entails stressing how the progressive political aspects of postmodernism need to be separated from the aesthetic consumption of differences in automoderntiy. Choosing culturally relevant studies of The Matrix, Grand (...) Theft Auto, Eminem and Jurassic Park, he interprets these medias through the lens of eminent theorists like Slavoj Zizek, Frederic Jameson, and Henry Jenkins. Ultimately, he argues that what defines postmodernity is the stress on social construction, secular humanism, and progressive social movements that challenge the universality and neutrality of modern reason"--Provided by publisher. (shrink)

In light of the dramatic growth of Chinese learners worldwide and a need for cross-linguistic research on Chinese literacy development, this study drew upon theories of visual complexity effect (Su & Samuels, 2010) and dual-coding processing (Sadoski & Paivio, 2013) and investigated a) the effects of character properties (i.e., visual complexity and radical presence) on character acquisition and b) the relationship between individual learner differences in radical awareness and character acquisition. Participants included adolescent English-speaking beginning learners of Chinese in the (...) U.S. Following Kuo et al. (2014), a novel character acquisition task was used to investigate the process of acquiring the meaning of new characters. Results showed that a) characters with radicals and with less visual complexity were easier to acquire than characters without radicals and with greater visual complexity; and b) individual differences in radical awareness were associated with the acquisition of all types of characters, but the association was more pronounced with the acquisition of characters with radicals. Theoretical and practical implications of the findings were discussed. (shrink)

Although Sir Samuel Ferguson is generally recognized as one of the key figures of mid-nineteenth-century Irish literature, there has been no major edition of his poems since 1916, as a result of which his work tends to be known to the general reader through selections published in anthologies. The essay analyzes the selections of Ferguson’s work in anthologies of Irish literature published between 1895 and 2010 in an attempt to assess the impact of the cultural dynamics of twentieth-century Ireland (...) on the interpretation of Ferguson’s achievement as a poet. The evidence collected demonstrates that the image of Ferguson perpetuated by most twentiethcentury anthologists, most of them Hibernocentric in approach, was that of a respectable if rather old-fashioned Romantic nationalist antiquarian, whose work focused primarily on familiarizing the Victorian reader with the ancient myths and traditions of Ireland. This interpretation of Ferguson’s achievement, motivated, it is argued, by the predominantly nationalist agenda of modern Ireland’s cultural establishment, has largely marginalized the other side of Ferguson—a political thinker committed to the unionist cause and vehemently opposed to the violence perpetrated by the emergent Irish republican movement and culminating in the Phoenix Park murders of 1882, which formed the subject of two of Ferguson’s most powerful late poems, “At the Polo-Ground” and “In Carey’s Footsteps.”. (shrink)

Whereas the Platonic-Christian philosophical tradition in the West favours an ”ascent to theory’ and abstract reasoning, east-Asian philosophies tend to be rooted in somatic, or bodily, practice. In the philosophies of Confucius and Zhuangzi in China, and KÅ«kai and Dōgen in Japan, we can distinguish two different forms of somatic practice: developing physical skills, and what one might call ”realising relationships’. These practices improve our relations with others -- whether the ancestors or our contemporaries, the things with which we surround (...) ourselves or the phenomena of nature -- by reducing egocentrism and increasing humility. Because they transform the practitioner’s experience, the major benefit of philosophies grounded in somatic practice is that they help close the gap between beliefs and behaviour, and between ideas and action. (shrink)

"In 12 excellent essays by scholars East and West, this collection explores the many dimensions of Heidegger's relation to Eastern thinking. Because of the quality of the contributions, the eminence of the many contributors. this volume must be considered an indispensable reference on the subject. Highly recommended." --Choice.

Nietzsche wrote in _Ecce Homo_, "That a psychologist without equal speaks from my writings—this is perhaps the first insight gained by a good reader.... Who among the philosophers before me was in any way a psychologist? Before me there simply was no psychology." _Composing the Soul_ is the first study to pay sustained attention to this pronouncement and to examine the contours of Nietzsche's psychology in the context of his life and psychological makeup. Beginning with essays from Nietzsche's youth, Graham (...) Parkes shows the influence of such figures as Goethe, Byron, and Emerson on Nietzsche's formidable and multiple talents. Parkes goes on to chart the development of Nietzsche's psychological ideas in terms of the imagery, drawn from the dialogues of Plato as well as from Nietzsche's own quasi-mystical experiences of nature, in which he spoke of the soul. Finally, Parkes analyzes Nietzsche's most revolutionary idea—that the soul is composed of multiple "drives," or "persons," within the psyche. The task for Nietzsche's psychology, then, was to identify and order these multiple persons within the individual—to compose the soul. Featuring all new translations of quotations from Nietzsche's writings, _Composing the Soul_ reveals the profundity of Nietzsche's lifelong personal and intellectual struggles to come to grips with the soul. Extremely well-written, this landmark work makes Nietzsche's life and ideas accessible to any reader interested in this much misunderstood thinker. (shrink)

Nietzsche wrote in _Ecce Homo_, "That a psychologist without equal speaks from my writings—this is perhaps the first insight gained by a good reader.... Who among the philosophers before me was in any way a psychologist? Before me there simply was no psychology." _Composing the Soul_ is the first study to pay sustained attention to this pronouncement and to examine the contours of Nietzsche's psychology in the context of his life and psychological makeup. Beginning with essays from Nietzsche's youth, Graham (...) Parkes shows the influence of such figures as Goethe, Byron, and Emerson on Nietzsche's formidable and multiple talents. Parkes goes on to chart the development of Nietzsche's psychological ideas in terms of the imagery, drawn from the dialogues of Plato as well as from Nietzsche's own quasi-mystical experiences of nature, in which he spoke of the soul. Finally, Parkes analyzes Nietzsche's most revolutionary idea—that the soul is composed of multiple "drives," or "persons," within the psyche. The task for Nietzsche's psychology, then, was to identify and order these multiple persons within the individual—to compose the soul. Featuring all new translations of quotations from Nietzsche's writings, _Composing the Soul_ reveals the profundity of Nietzsche's lifelong personal and intellectual struggles to come to grips with the soul. Extremely well-written, this landmark work makes Nietzsche's life and ideas accessible to any reader interested in this much misunderstood thinker. (shrink)

Friedrich Nietzsche's work has had a significant impact on the intellectual life of non-Western cultures and elicited responses from important thinkers outside of the Anglo-American philosophical traditions as well. Bringing together thirteen internationally renowned scholars, this is the first collection of essays to address the connection between Nietzsche's ideas and philosphies in India, China, and Japan. The contributors are Roger T. Ames, Johann Figl, Chen Guying, Michel Hulin, Arifuku Kogaku, David A. Kelly, Glen T. Martin, Sonoda Muneto, Graham Parkes, (...) okochi Ryogi, Eberhard Scheiffele, Mervyn Sprung, and Joan Stambaugh. "Exemplary. Its comparative approach is incisive yet accessible. I consider it a 'must read'"—Kathleen Marie Higgins, _Philosophy East and West_ "An excellent introduction to the broad ranging reception of Nietzsche among Asian thinkers."—James R. Watson, _Canadian Philosophical Review_ "The essays in this welcome collection are invariably thought-provoking and genuinely cross-disciplinary."—Kenneth Surin, _Religious Studies Review_ "A worthy and undogmatic introduction to several fascinating questions concerning the relations between Nietzschean thought and certain traditions of thought in India, China, and Japan."—Don Miller, _Asian Studies Review_. (shrink)

Graham Parkes untersucht in seinem Beitrag Vertreter traditioneller ostasiatischer Philosophie und hebt in besonderer Weise den Aspekt der Leiblichkeit – als gelebte philosophische Praxis der Selbst-Kultivierung hervor: Diese Aktivität als Weg zur Veredelung des Selbst gilt als Voraussetzung zur Entstehung der Beziehungen zu anderen Menschen und zur Umwelt. Sie sichert somit als einziger Weg die Bewahrung der Welt. Momente wie etwa die Praxis der »Selbst-Kultivierung« oder das Hören mit einem »dritten Ohr«, aber auch die Integration des eigenen Handelns und (...) Denkens in den »Rhythmus des Kosmos« fordern europäische Formen des Philosophierens dazu heraus, Grenzen und Aporien ihrer eigenen Methodik wahrzunehmen. (shrink)

Many of our current environmental problems stem from damage to the natural world through excessive use of modern technologies. Since these problems are now global in scope, it is helpful to take a comparative philosophical approach—in this case by way of Laozi, Zhuangzi, and Martin Heidegger. Heidegger’s thoughts on these topics are quite consonant with classical Daoist thinking, in part because he was influenced by it. Although Zhuangzi and Heidegger warn against the ways technology can impair rather than promote human (...) flourishing, they are not simply anti-technological in their thinking. Both rather recommend a critical stance that would allow us to shift to a more reflective employment of less disruptive technologies. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and beautifully (...) illustrated history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

The Japanese dry landscape garden has long attracted—and long baffled—viewers from the West. While museums across the United States are replicating these "Zen rock gardens" in their courtyards and miniature versions of the gardens are now office decorations, they remain enigmatic, their philosophical and aesthetic significance obscured. _Reading Zen in the Rocks_, the classic essay on the _karesansui_ garden by French art historian François Berthier, has now been translated by Graham Parkes, giving English-speaking readers a concise, thorough, and beautifully (...) illustrated history of these gardens. Berthier's guided tour of the famous garden of Ryoanji in Kyoto leads him into an exposition of the genre, focusing on its Chinese antecedents and affiliations with Taoist ideas and Chinese landscape painting. He traces the roles of Shinto and Zen Buddhism in the evolution of the garden and also considers how manual laborers from the lowest classes in Japan had a hand in creating some of its highest examples. Parkes contributes an equally original and substantive essay which delves into the philosophical importance of rocks and their "language of stone," delineating the difference between Chinese and Japanese rock gardens and their relationship to Buddhism. Together, the two essays compose one of the most comprehensive and elegantly written studies of this haunting garden form. _Reading Zen in the Rocks_ is fully illustrated with photographs of all the major gardens discussed, making it a handsome addition to the library of anyone interested in gardening, Eastern philosophy, and the combination of the two that the _karesansui_ so superbly represents. Praise for the French edition: "A small book of rare depth, remarkably illustrated, on one of the most celebrated and beautiful rock gardens of the monasteries of Kyoto."—_L'Humanité_ "Through _Le Jardin de Ryoanji_, Berthier teaches us to read the zen in the rocks, to discover the language offered by the garden at Ryoanji. Enigmatic, poetic, and disconcerting, an enriching journey through a work of art of surprising modernity, _Le Jardin de Ryoanji_ is a work that will interest all the amateurs of Japanese art and Eastern philosophy."—_Lien Horticole_. (shrink)

A brief celebration of the contributions of the late Eliot Deutsch to Asian, comparative, and world philosophy, and to the academic community more generally.

Dōgen Kigen (1200–1253 ce) is one of the most revered figures in the history of Japanese culture. A Zen master regarded by the Sōtō School as its spiritual founder, Dōgen is also considered by many to be Japan's greatest philosopher. (The other major contender is kūkai, with whose philosophy Dōgen's shares a number of features.) Possessed of a prodigious and subtle intellect, and master of a strikingly poetic style, he surely ranks among the world's most formidable thinkers.

BackgroundOver the past two decades, Uganda has experienced a significant increase in clinical research driven by both academia and industry. This has been combined with a broader spectrum of research proposals, with respect to methodologies and types of intervention that need evaluation by Research Ethics Committees (RECs) with associated increased requirement for expertise. We assessed the competencies of REC members regarding review of research protocols with complex and emerging research study designs. The aim was to guide development of a training (...) curriculum to improve the quality of scientific and ethical review.MethodsThis was a cross-sectional study design, with quantitative data collection methods. Research Ethics Committee members completed a structured pre-coded questionnaire on current competence with complex and emerging study design. REC members were asked to outline a list of additional topics for which they needed training. Data from coded questions were entered into Epidata Version 3.1 and then exported to STATA Version14.1 for analysis. Descriptive analysis was performed and findings are presented using percentages and frequencies.ResultsWe enrolled 55 REC members from 6 RECs who have a total of 97 members. The majority of whom were males (56.4%, n = 31/55). The level of competence for review of selected study design was lowest for Controlled Human Infection Model (10.9%, n = 6) and reverse pharmacology design (10.9%, n = 6), and highest for cluster randomized study design (52.7%, n = 29) and implementation science research (52.7%, n = 29).ConclusionCompetence for review of research protocols with complex and emerging study design was low among participating REC members. We recommend prioritising training of REC members on complex and emerging study designs to enhance quality of research protocol review. (shrink)

The first English translation of a forty-year-old Japanese classic--Nishitani's treatment of the problem of nihilism, with particular reference to Nietzsche's philosophical ideas, and from a perspective influenced by Buddhist thought. Paper edition, $14.95. Annotation copyrighted by Book News, Inc., Portland, OR.

In Thus Spoke Zarathustra Nietzsche addresses the problem of how to live a fulfilling life in a world without meaning, in the aftermath of 'the death of God'. Nietzsche's solution lies in the idea of eternal recurrence. This translation of Zarathustra reflects the musicality of the original German, and for the first time annotates the abundance of allusions to the Bible and other classic texts with which Nietzsche's masterpiece is in conversation.

I am concerned with epistemic closure—the phenomenon in which some knowledge requires other knowledge. In particular, I defend a version of the closure principle in terms of analyticity; if an agent S knows that p is true, then S knows that all analytic parts of p are true as well. After targeting the relevant notion of analyticity, I argue that this principle accommodates intuitive cases and possesses the theoretical resources to avoid the preface paradox. I close by arguing that contextualists (...) who maintain that knowledge attributions are closed within—but not between—linguistic contexts are tacitly committed to this principle’s truth. (shrink)