While regarding Gregory M. Browne as mainly on target in his Rand-inspired treatment of reference and necessity, as well as in his rejection of the analyticsynthetic dichotomy, Long argues, first, that Browne is mistaken in rejecting some other vital distinctions, such as the a priori / a posteriori distinction; second, that Browne is nevertheless implicitly committed, under different terminology, to these very distinctions that he purportedly rejects; and third, that Browne's treatment of kinds and definitions leads him to misdescribe and (...) misprescribe ordinary language use, and also to embrace unnecessary semantic incommensurability. (shrink)

The beauty contest game is widely used to study the determinants of strategic thinking. Here, we examine the role of theory of mind in strategic reasoning by comparing both performance and the reas...

The global economy has an impact on female beauty today, regardless of the multicultural and historical factors in its formation and construction, resulting in monolithic crazes in women's fashion and appearance. but female beauty in china has been greatly contested with China's turbulent modern history, and this contestation deserves serious consideration, together with the politics by which the Chinese state apparatus has promoted and regulated female beauty. I argue that certain factors have been constant in contemporary (...) discourses of female beauty. Ideal bodies, in all their specifics, are defined by physical standards very few women can attain. These standards are accompanied by demeaning characterizations of women who fail to achieve them, and who are therefore destined to be discontent. It is now necessary for feminist theorists to examine the social and cultural roles of the body in terms of gender, power, the established patriarchy, and its oppression of women. (shrink)

The rejection of beauty from a political standpoint is a significant part of the legacy of avant-gardism in contemporary art. In particular, Arthur Danto signaled that artistic activism should avoid beauty simply because beauty induces the wrong perspective on whatever it is desired to have an impact upon. While artistic beauty’s tendency would be to heal, he claimed, political protest needs anger as its trigger. This article challenges such an argument that opposes beauty’s emotional effects (...) on political action by examining the complex nature of both beauty and anger. I contest a mere contemplative view of beauty and, using Carolyn Korsmeyer’s account of “terrible beauties,” bound up with discomforting emotions, I defend that beauty can be compatible with anger albeit, in order to be politically truly effective, anger must move from the wish to punish toward more productive forward-looking thoughts. Though often being necessary as a source of motivation to fight for justice, I believe, with Martha Nussbaum and Myisha Cherry, that anger is truly politically effective and keeps its noble side when detached from revenge and directed by hope, a value related to beauty. (shrink)

The paper introduces the “Contest Paradox”: on the one hand, rational competitors employ the most effective means to achieve the constitutive end of games - winning; On the other hand, apparently rational competitors often employ means that are sub-optimal for winning, e.g., playing beautifully or fairly. Nevertheless, the actions of such competitors are viewed as rational. Are such competitors rational? I reject the possibility of resolving the paradox by appealing to additional ends or norms to winning, such as playing sportingly. (...) Instead, I argue that the constitutive end of games is not a win simpliciter, but a type of win, such as winning-beautifully or winning-fairly. This interpretive framework is theoretically advantageous because it accounts better for the ‘unity of action’ or ‘flow’ competitors experience, better deals with various cases, and accommodates different traditions of competing. (shrink)

Paul de Man calls for rhetorical reading attentive to the materiality of language and the metaphorical nature of all words and concepts. He insists that tropes are purely cognitive and devoid of any aesthetic function, and describes language as mechanical and non-human. He contests Schiller’s account of aesthetic education, in which the ‘aesthetic state’– enjoyment of beauty or pure aesthetic form – leads man to truth and moral freedom. He links Schiller’s advocacy of pure form with the idea in (...) Kleist’s short story about marionette theatre that human perfection in dance can best be achieved by mechanization and mutilation. Schiller argued that the ideal man is represented by the State; de Man quotes Goebbels on how the statesman is an artist who ‘mechanizes’ the masses and shapes an aesthetic State out of the people, just as artists shape their material. But even though the Nazis aestheticized politics, the essence of fascism remains power rather than language or form. Whether or not the late de Man’s account of the aesthetic is a consequence of his wartime espousal of an implicitly fascist notion of aesthetic totality, the aesthetic is not as inherently dangerous as he describes it. (shrink)

Inspired by the Monty Hall Problem and a popular simple solution to it, we present a number of game-show puzzles that are analogous to the notorious Sleeping Beauty Problem (and variations on it), but much easier to solve. We replace the awakenings of Sleeping Beauty by contestants on a game show, like Monty Hall’s, and increase the number of awakenings/contestants in the same way that the number of doors in the Monty Hall Problem is increased to make it (...) easier to see what the solution to the problem is. We show that these game-show proxies for the Sleeping Beauty Problem and variations on it can be solved through simple applications of Bayes’s theorem. This means that we will phrase our analysis in terms of credences or degrees of belief. We will also rephrase our analysis, however, in terms of relative frequencies. Overall, our paper is intended to showcase, in a simple yet non-trivial example, the efficacy of a tried-and-true strategy for addressing problems in philosophy of science, i.e., develop a simple model for the problem and vary its parameters. Given that the Sleeping Beauty Problem, much more so than the Monty Hall Problem, challenges the intuitions about probabilities of many when they first encounter it, the application of this strategy to this conundrum, we believe, is pedagogically useful. (shrink)

This paper charts P.A.M. Dirac’s development of his theory of the electron, and its radical picture of empty space as an almost-full plenum. Dirac’s Quantum Electrodynamics famously accomplished more than the unification of special relativity and quantum mechanics. It also accounted for the ‘duplexity phenomena’ of spectral line splitting that we now attribute to electron spin. But the extra mathematical terms that allowed for spin were not alone, and this paper charts Dirac’s struggle to ignore or account for them as (...) a sea of strange, negative-energy, particles with positive ‘holes’. This work was not done in solitude, but rather in exchanges with Dirac’s correspondence network. This social context for Dirac’s work contests his image as a lone genius, and documents a community wrestling with the ontological consequences of their work. Unification, consistency, causality, and community are common factors in explanations in the history of physics. This paper argues on the basis of materials in Dirac’s archive that — in addition — mathematical beauty was an epistemological factor in the development of the electron and hole theory. In fact, if we believe that Dirac’s beautiful mathematics captures something of the world, then there is both an epistemology and an ontology of mathematical beauty. (shrink)

Beauty is a contested concept insofar as it seeks to mark a categorical distinction among the sources of pleasure, typically in terms of oppositions such as objective/subjective, universal/particular, necessity/contingency. Kant represents a culmination of this tradition in defining the judgment of beauty in terms of the requirement for universal agreement, modeling the judgment of beauty as closely as possible to ordinary factual judgments. A different tradition of thinking about beauty, however, while still seeking to mark (...) a categorical distinction by reference to the idea of necessity, finds the relevant sense of necessity not in conditions of agreement but necessities of erotic love and the sense of requirement felt toward its objects. This paper explores the consequences of taking this other tradition seriously, using Proust as a representative exemplar, as a way both of making sense of some of the features Kant ascribes to the concept of the beautiful, while avoiding the paradoxes stemming from his focus on the conditions for universal agreement. (shrink)

This article focuses on the relationship between evaluations of beauty and the ethics of living well. Separating these ideas typically involves understating how racism and patriarchy shape wider cultural and aesthetic sensibilities. I counter this tendency by foregrounding the precarity of vulnerable black children and the importance of self‐love in their efforts to flourish. My strategy involves placing Toni Morrison in conversation with Alexander Nehamas and Harry Frankfurt, philosophers who have carefully engaged the topics of beauty and love. (...) By situating aesthetic judgment within ongoing practices of social formation and political contestation, I reveal the importance of linking beauty with practices of self‐regard while also detailing my criticisms of thinkers who downplay their significance. The effect is to position Morrison as an instructive guide for scholars interested in aesthetics, ethics, and politics. (shrink)

While Theodor Adorno is known for his philosophical reconstruction of aesthetic modernism, he also analyzes—and is critical of—the demotion of natural beauty in the hierarchy of aesthetic concerns following Kant. Recent scholars have acknowledged that natural beauty is important in Adornian aesthetics, but many do so in a manner that repeats the subordination of natural beauty and the aesthetic experience of nature to that of art. Against this tendency, in this article I demonstrate that not only does (...) Adorno contest the inferiority of the aesthetic experience of nature but his unconventional description and theoretical articulation of natural beauty is especially pertinent for our time of climate crisis. By unpacking his endorsement of Walter Benjamin's casting both nature and history in terms of transience, I argue that Adorno proposes an experience of natural beauty that is expressive of social historical content, offers a vision of a different relationship with nature, and discloses ethical claims on us to act in this world. (shrink)

Bovens (2010) points out that there is a structural analogy between the Judy Benjamin problem (JB) and the Sleeping Beauty problem (SB). On grounds of this structural analogy, he argues that both should receive the same solution, viz. the posterior probability of the eastern region of the matrix in Table 1 should equal 1/3. Hence, P*(Red) = 1/3 in the JB and P*(Heads) = 1/3 in the SB. Bovens’s argument rests on a standard error in implementing Bayesian updating, which (...) is spelled out in Shafer 1985. When we are informed of some proposition, we do not only learn the proposition in question, but also that we have learned the proposition as one of the many propositions that we might have learned. The information is generated by a protocol, which determines the various propositions that we might learn. We should then update not on the proposition in question, but rather on the fact that we learned this proposition as one of the many propositions that we might have learned. A well-known application of this insight is the Monty Hall problem (MH) as Speed (1985: 276) points out in a discussion of Shafer 1985. As an illustration, let us apply Shafer’s insight to the MH. In the MH, the contestant in a game show learns that there is a goat behind two of three doors X, Y and Z and a car behind one door. She is asked to pick one of the three doors. The contestant picks door X. Monty will then open one of the remaining doors, which he knows to have a goat behind it. Suppose Monty opens door Y. The contestant is then asked whether she wants to …. (shrink)

This unique collection of essays focuses on various aspects of Plato's Philosophy of Art, not only in The Republic , but in the Phaedrus, Symposium, Laws and related dialogues. The range of issues addressed includes the contest between philosophy and poetry, the moral status of music, the love of beauty, censorship, motivated emotions.

In June 1931, on the eve of the invasion of Manchuria, the Japanese mass media announced the winner of the first Miss Nippon contest. Applicants were limited to rank amateurs whose photographs, and not bodies, were judged by a panel of mostly elderly men who regarded the contest as `culture work'. A second contest was held in 1934. One of the main objectives of the Miss Nippon contests was to locate and record photographically, young women whose allegedly `pure blood' and (...) ideal bodily proportions demonstrated the success of eugenics and social hygiene programs launched decades earlier. Japan's imperialist aggression in Asia and the Pacific forms the backdrop to this study on the centrality of popular cultural events and media in the state's attempt to improve the `Japanese race' through technologies of eugenics and social hygiene. The article explores the politics of blood, body and beauty, three interrelated subjects, framed by the Miss Nippon contests, that were common to the colonial project and the discourse of eugenics alike. (shrink)

Heidegger’s discussions of beauty in the 1930s and ’40s arguably have more to do with a confrontation with Hegel than with a revisiting of the question of how best to analyse our experience of the beautiful. Beauty, for Heidegger as for Hegel, takes its definition from truth. At issue is a forcible rewriting of the harmony of the faculties to which Kant appeals in his defence of pure aesthetic judgements. The highest truth, and the truth of beauty, (...) lies in a proper understanding of harmony, whether as the comprehensive reconciliation of the absolute Idea or as the non-closure in which truth as unconcealment remains contested by concealment. While neither Hegel nor Heidegger abides by the subjectivism of Kant’s aesthetics, insisting instead that beauty is more than a mere feeling, Hegel’s beauty as reconciliation and Heidegger’s beauty as strife both attest to the ongoing sway of Kant’s harmony of the faculties. (shrink)

Fodor's doubts about neo‐Darwinism are driven by something other than familiarity with evolutionary biology, so they should be set aside. His claim that a theory of intentionality cannot be constructed on an evolutionary foundation because there is no representation in the process of natural selection reveals that he has been blind to the chief beauty of Darwin's vision: its capacity to explain not just how the living can come, gradually, from the non‐living, but also how meaning can come, by (...) incremental steps, out of the meaningless. (shrink)

This article uses a comparative-case research design of two different national beauty pageants in Nigeria to ask how and why gendered nationalisms are constructed for different audiences and aims. Both contests claim to represent “true Nigerian womanhood” yet craft separate models of idealized femininity and present different nationalist agendas. I argue that these differences stem from two distinct representations of gendered national identities. The first pageant, “Queen Nigeria,” whose winners do not compete outside of Nigeria, brands itself as a (...) Nigerian-based pageant, centered on a cultural-nationalist ideal, which is focused on revitalizing and appreciating Nigerian culture to unify the nation. In contrast, the second contest, “The Most Beautiful Girl in Nigeria,” utilizes “international standards” to select and send contestants to Miss World and Miss Universe, the top pageants in the world, and promotes a cosmopolitan-nationalist ideal, which remains concentrated on propelling and integrating Nigeria into the international arena. (shrink)

A significant strand of the ethical psychology, aesthetics and politics of Plato's Republic revolves around the concept of poikilia, ‘fascinating variety’. Plato uses the concept to caution against harmful appetitive pleasures purveyed by democracy and such artistic or cultural practices as mimetic poetry. His aim, this article shows, is to contest a prominent conceptual connection between poikilia and beauty (kallos, to kalon). Exploiting tensions in the archaic and classical Greek concept, Plato associates poikilia with dangerous pleasures to redirect admiration (...) toward a distinctly philosophical pursuit of the nature of beauty. This is to displace a prominent and problematic cultural sensibility—the aesthetics of poikilia—not to deny that fascinating variety, even in mimetic poetry, may be beautiful. Rather, Plato's cultural critique lays bare an epistemological problem in the ethical psychology of beauty: since they cannot be distinguished from what seems beautiful, how should one respond to fascinating yet dangerous attractions? (shrink)

William James is famous for his investigations of the “Varieties of Religious Experience” in which people encounter (what they take to be) the divine. But in his essay, “On a Certain Blindness in Human Beings,” his interest is in our experiences, not of anything purportedly supernatural, but of one another. He thinks we need to cultivate the capacity to apprehend the intrinsic value of others, even and especially of strangers. We do so in experiences of the wonder and beauty (...) of our fellow citizens, and of our harmony with them. Democratic societies require a sense of attraction to one another’s form of life if they are to inspire shared commitments to public goods. Whereas we shouldn’t reject the political significance of aversion, contestation, and dissonance, these negative attitudes do not suffice. Sustaining democratic engagement requires attractive attitudes, and among these are the wonder, beauty, and harmony that James promotes. (shrink)

In the Renaissance the beauty of a garden was for people a source of energy, it nurtured their inherent love of plant life, enchanted them and gave them a sense of pure aesthetic contentment. This fascination with nature and the values nurtured by the emerging culture of the garden also had broader reasons than just the desire for subjective experience. They can be sought in the belief that the style of an epoch is reflected not only in all the (...) forms of pure art, but also in the sphere of applied art. The aesthetic criteria which determined the early-Renaissance conception of the garden were at least twofold: first, the then-emerging culture of the garden co-formed the identity of the entire era as one of the few enclaves of a rising trend away from the classical tradition. The culture of the garden contested the adulation of the Antique that was common at the time and ruled supremely in art. (shrink)

Parker’s article is a welcome attempt to address the importance of environmental sustainability in the realm of clinical ethics.1 We support the recent movement to seriously consider the environmental impact of healthcare institutions in bioethics.2 3 Still, we find two partly linked weaknesses of Parker’s analysis and guideline suggestion. These relate to a need in ‘green’ bioethics to see beyond the normal healthcare ethical focus on health-related values related to individual patients, and to primarily adopt institutional ways of framing central (...) decision problems. Traditional bioethics applies a restricted scope of values to assess clinical decisions: primarily health-related patient well-being (including life) and patient autonomy. If a decision improves (or, as in Parker’s inhaler case, maintains) a patient’s health-related well-being, this supports it. However, if a decision improves a patient’s non health-related well-being, say, winning a beauty contest or securing a job by having cosmetic surgery, it is not supported. And so on. This idea of healthcare as, in Michael Walzer’s classic terminology, a separate ‘sphere of justice’ has two interrelated limitations: it reflects a bias towards individual patients over other people, and it restricts the scope of values allowed to influence healthcare ethical judgements. These limitations appear once we see that the issue addressed by Parker can be framed either as prescription decisions taken by individual doctors against the background of …. (shrink)

Why is the average quality of research in open science so high? The answer seems obvious. Science is highly competitive, and publishing high quality research is the way to rise to the top. Thus, researchers face strong incentives to produce high quality work. However, this is only part of the answer. High quality in science, after all, is what researchers in the relevant field consider to be high quality. Why and how do competing researchers coordinate on common quality standards? I (...) argue that, on the methodological level, science is a dynamic beauty contest. (shrink)

Debra Bergoffen’s Contesting the Politics of Genocidal Rape shows us beautifully what is gained by considering rape as a consequence of genocide. What gets lost here, in relation to considering cases of rape that are not the result of such, such as gang rape, “mass rape,” or other instances of rape? Is rape qua rape a human rights violation of a sort that is articulated within the context of the “right to sexual integrity”? Can a case be made, even in (...) “non-wartime” societies where rape occurs systematically as an instance of patriarchy and misogyny, that rape is a human rights violation of the right to sexual self-determination? Or is it the case that the conditions of wartime rape merit a different set of considerations in order to locate it as a human rights violation? My comments attempt to think through some of these questions with Bergoffen. (shrink)

With more than 120 color photographs, Images of Kansas City provides an exquisite view of one of the country's most desirable places to live. This outstanding collection showcases the many landmarks and scenes associated with Kansas City: Country Club Plaza, with its beautiful fountains and statues; two great sports teams, the Kansas City Chiefs and Royals; buildings such as the Power & Light Building, the H. Roe Bartle Exhibition Hall, and the Nelson-Atkins Museum of Art; events at the American Royal (...) arena; and, of course, views of Kansas City's magnificent skyline. The images in this book were chosen from hundreds of photos submitted to William Mills by both professional and amateur photographers from Kansas City and the surrounding area. Because the contest had few restrictions about subject matter, the photos included demonstrate a wide sampling of photographic approaches and techniques, rendering an excellent portrayal of this vital city. In his introduction, William Mills provides important historical data on the background and development of Kansas City, touching briefly on the special people and features that have made Kansas City the thriving city that it is today. (shrink)

In 2013, Kurt Ullrich set out to chronicle the magic of the Iowa State Fair in words and photographs. Join him as August days and nights blow warm and easy over the fairgrounds, brushing lightly against fellow travelers on this earth, both human and not. He captures precious moments of extreme joy and unbridled delight in these beautiful black-and-white images, celebrating the brash rural energy of the fair, from Big Wheel races to people-watching goats, fair queen contestants to arm wrestlers, (...) Percherons to ponies. Prize pigs, prize sheep, prize apples, and the famous butter cow all have their moment in the limelight. Iowa s very best ear of corn and old friends reminiscing outside their RVs draw the photographer s fond eye, as do brightly lit beer stands and the brilliant arc of the Ferris wheel against the night sky. ". (shrink)

The word 'athletics' is derived from the Greek verb 'to struggle for a prize'. After reading this book, no one will see the Olympics as a graceful display of Greek beauty again, but as war by other means. Nigel Spivey paints a portrait of the Greek Olympics as they really were - fierce contests between bitter rivals, in which victors won kudos and rewards, and losers faced scorn and even assault. Victory was almost worth dying for, and a number (...) of athletes did just that. Many more resorted to cheating and bribery. Contested always bitterly and often bloodily, the ancient Olympics were not an idealistic celebration of unity, but a clash of military powers in an arena not far removed from the battlefield. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics and Politics in Tagore, Coetzee, and Certain Scenes of TeachingGayatri Chakravorty Spivak (bio)It is practically persuasive that the eruption of the ethical interrupts and postpones the epistemological—the undertaking to construct the other as object of knowledge, an undertaking never to be given up. Lévinas is the generic name associated with such a position. A beautiful passage from Otherwise than Being lays it out, although neither interruption nor postponement (...) is mentioned. That connection is made by Derrida [Adieu 51-59].Here, then, is Lévinas, for whom Kant's critical perspectivization of the subject and the rigorous limits of pure theoretical reason seem to have been displaced by the structuralist hermeneutics of suspicion. For Lévinas, structuralism did not attend to what in Kant was the mechanism that interrupted the constrained and rigorous workings of pure reason: "The interests that Kant discovered in theoretical reason itself, he subordinated to practical reason, become mere reason. It is just these interests that are contested by structuralism, which is perhaps to be defined by the primacy of theoretical reason" [Otherwise than Being 58; trans. modified].The relationship between the postponement of the epistemological in Lévinas and the subordination of pure reason in Kant is a rich theme, beyond the scope of this essay. Let us return to what Lévinas will perceive as a general contemporary hermeneutics of suspicion, related to the primacy of theoretical reason: "The suspicions engendered by psychoanalysis, sociology and politics weigh on human identity such that we never know to whom we are speaking and what we are dealing with when we build our ideas on the basis of the human fact."1 The political calculus thematizes this suspicion into an entire code of strategy defined as varieties of game theory and rational choice. This can be verified across cultural difference, backwards through history, and in today's global academic discourse. Over against this Lévinas posits the ethical with astonishing humility: "but we do not need this knowledge in the relationship in which the other is the one next to me [le prochain]" [Otherwise 59].Kant thought that the ethical commonality of being (gemeines Wesen—repeatedly mistranslated as "the ethical state") cannot form the basis of a state. Surprisingly, there is a clear line from the face-to-face of the ethical to the state in Lévinas.2 It has long [End Page 17] been my habit to scavenge and tinker in the field of practical philosophy. I will conserve from Kant the discontinuity between the ethical and the political, from Lévinas the discontinuity between the ethical and the epistemological. I will suggest that the discontinuities between the ethical and the epistemological and political fields are tamed in the nestling of logic and rhetoric in fiction.3Enabled by such a suggestion, I can move to another bit of prose on that page in Lévinas: "for reasons not at all transcendental but purely logical, the object-man must figure at the beginning of all knowing."The figure of the "I" as object: this representation of the holy man in Lévinas does not match our colloquial and literal expectations. My general suggestion, that the protocol of fiction gives us a practical simulacrum of the graver discontinuities inhabiting (and operating?) the ethico-epistemic and the ethico-political, can, however, take such a figure on board. I will continue to want to say that fiction offers us an experience of the discontinuities that remain in place "in real life." That would be a description of fiction as an event—an indeterminate "sharing" between writer and reader, where the effort of reading is to taste the impossible status of being figured as object in the web of the other. Reading, in this special sense, is sacred.In this essay I consider not only fiction as event but also fiction as task. I locate in Rabindranath Tagore (1861-1941) and J. M. Coetzee (1940-) representations of what may be read as versions of the "I" figured as object and weave the representations together as a warning text for postcolonial political ambitions.4 I am obviously using "text" as "web," coming from Latin texere—"to... (shrink)

The complexities of black hair care provide a useful point of entry to the problem of theorizing, experiencing, judging, and pursuing bodily beauty in racialized contexts. This chapter aims to catalogue and clarify some of the philosophical questions that arise from the negrophobic somatic aesthetics. It provides answers to the most pressing questions, questions that demand the attention not just of aestheticians and ethicists, but also of students of natural science and the philosophy of existence. The chapter focuses on (...) cases that emerge from Afro‐US life‐worlds. Richard Shusterman's determination to contest the centuries‐long denigration of the body that infects western philosophy and culture leads him to employ the Greek term soma to name his approach, which he defines as the study of the experience and use of one's body as a locus of sensory‐aesthetic appreciation and creative self‐fashioning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:When an Arab Laughs in Toledo: Cervantes’s Interpellation of Early Modern Spanish OrientalismE. C. Graf (bio)My purpose has been to place in the plaza of our republic a game table which everyone can approach to entertain themselves without fear of being harmed by the rods; by which I mean without harm to spirit or body, because honest and agreeable exercises are always more likely to do good than harm.—Miguel (...) de Cervantes Saavedra, Prologue to Novelas ejemplares [my translation]We are engaged in a technical enterprise at the species scale.—Jacques Lacan, “L’agressivité en psychanalyse” [my translation]While I was all intent on watching him, he looked at me, and with his hands he spread his chest and said: “See how I split myself!”!—Dante Alighieri, Inferno 28.28–30 Click for larger view View full resolutionFigure 1.Sandro Botticelli, The Virgin and Child (c. 1490). Courtesy of the Fogg Art Museum, Harvard University; ©1999 President and Fellows of Harvard College. Click for larger view View full resolutionFigure 2.Salvador Dalí, Dream Caused by the Flight of a Bee around a Pomegranate One Second Before Awakening (1941). Courtesy of Museo Thyssen-Bornemisza, Madrid; ©1999 Artists' Rights Society (ARS), New York.For much of this century, Hispanists have labored in an effort to elevate Miguel de Cervantes Saavedra’s El ingenioso hidalgo don Quijote de la Mancha (1605, 1615) to the coveted status of the “first modern novel.” Today this kind of criticism may strike our postmodern sensibilities as a rather traditional enterprise, the kind more interested in establishing an elite hierarchy of literary tastes than in saying anything new about an author or text. For many, the study of literature is still an aesthetic beauty pageant in which “great books” like Laurence Sterne’s Tristram Shandy (1767) or Marie de la Vergne de La Fayette’s La princesse de Clèves (1678) are paraded across the stage in a contest to seduce the Western intelligentsia. 1 The postmodern student of literature may not have much concern for this age-old territorial contest, but she might be interested to learn that the fallout from Hispanism’s quest for the “first modern novel” has involved so much attention to, indeed complication of, Don Quixote, that the book now resembles more a postmodern text than an early modern one. At the turn of the century, we have been left with what Jorge Luis Borges would recognize as an “aleph”: an infinite ideological labyrinth that reflects and/or cannibalizes all forms, thereby escaping all attempts [End Page 68] to describe it. 2 Whatever we currently mean by “Cervantes” (an author, a collection of texts, an ideological construction, and so forth) carries with it an impressive range of critical responses. Cervantes has been labeled converso (Castro, Canavaggio), Christian humanist (Castro, Bataillon, Forcione, Herrero, Vilanova), disillusioned secularist (Lukács, Cascardi), precapitalist (Johnson), anti-essentialist (Wilson), anti-Eusebian (Presberg), Menippean (Bakhtin), feminist (El Saffar, Rabin, Cruz), sadist (Nabokov), ethnocentric imperialist (Mariscal), medieval (Gorfkle), homophobic (Martín), non-organicist Aristotelian (Read), and either discursively or actually homosexual (Combet, Rossi, Smith, Arrabal). This list is nowhere near complete, but the reader will grasp the robust effects of the plurality of perspectives on Cervantes.Each of these interpretations is valid to varying degrees within various contexts, but at present I am interested in reading Cervantes as the author of a multicultural manifesto on behalf of the Moriscos of Southern Spain. 3 Within the contexts of French Marxist philosopher Louis Althusser and Palestinian postcolonial literary critic Edward Said, materialist, postcolonial, and multicultural critiques of various forms of power and their ideologies can be seen as the fundamental propositions of Cervantes’s Don Quixote. 4 Cervantes’s ultimate orientation may perhaps be inescapably Eurocentric, but his responses to the European experience of the rise and expansion of an ethnocentric militaristic nation state are relatively centrifugal when compared to the attitudes of many of his contemporaries.In surveying some of the antihegemonic details of Cervantes’s novel, I am also interested in dispelling the popular myth of Don Quixote. Especially in the English-speaking world, and particularly in the United States, Don Quixote remains captive to a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scrutinizing Studio Art and Its StudyHistorical Relations and Contemporary ConditionsElizabeth M. Grierson (bio)Yet art is nevertheless an inquiry, precise and rigorous.—Maurice BlanchotIntroductionThe modern disciplines of art and art history have been going through significant revisions since the 1980s, when the objective domain of knowledge was placed in a contested position by the multiplicity of narratives characterizing postmodern social spaces. Whether there was or was not any disciplinary "crisis" (...) at that time is not at issue here.1 What is of concern is to identify the ways the academy—and specifically the art academy—sought to respond by rethinking disciplinary knowledge and thereby problematizing traditional methodologies of scholarly inquiry. Through the academic privileging of aesthetics and scientific discourses, modern knowledge brought with it a metanarrative appeal to the transcendence of the human spirit through art and religiosity, coupled with the identification of the rational human subject as agent of progress. This discussion is concerned with asking how these metanarratives were intervened or interrogated through art and its study and how those moments of displacement could be identified and analyzed. Ultimately, we may address the question of how discourses of power operate to normalize social practices and silence difference in institutional practices of art and art education. [End Page 111]Crisis in the DisciplinesIn 1982 an issue of Art Journal was dedicated to the theme of the crisis in the disciplines. However, as Donald Preziosi2 points out, if the disciplines of art and art history were deemed by Art Journal to be in crisis, there was only one article (by Oleg Grabar) in that journal issue that addressed this crisis and problematized "the history of the discipline and its methodological prospects for the future."3 In other words, if there was a crisis, and art educators or art historians were feeling it, what constituted the crisis was not yet being addressed. What is of interest is that this was a time when the object of study was under reconsideration and art and its history were part of a revisionist climate of scrutiny and reconsideration. This being so, there was significant expansion to the way fine arts and art history were being approached in the 1980s and 1990s in response to revisionist scholarship. This trend continued to be reinvigorated with the transformations of digital technologies in the 2000s.Art academies of the early 1990s in New Zealand and Australia were starting to grapple with methodological regimes of art history as a discipline in the context of intellectual challenges of postmodernity. Directing these issues to artists and their scholarly needs, educators were opening the discrete academic disciplines to wider intellectual, social, and cultural possibilities of inquiry. Standing before a "great" work of art and proclaiming its greatness had lost its meaning. Jean-François Lyotard had written it thus: "The time is past when we can plant ourselves in front of a Vernet and sigh along with Diderot, 'How beautiful, grand, varied, noble, wise, harmonious, rigorously coloured this is!'"4Threading throughout this discussion is the way one particular art academy was facing this challenge in those postmodernist years of the 1990s. The account tells of processes and principles of pedagogical change, but the implications of this case are not limited to one academy in one location. It was the early 1990s, and the writers of the first degree nominated as "visual arts" in New Zealand were addressing some of the issues of disciplinarity in fine arts and art history. This was the first degree situating what might be called a postmodernist pedagogical approach to fine arts studio and its study. This was at a time when changes in the New Zealand Education Act (1989, 1990) enabled degrees in art to be formally accredited and resourced in tertiary institutions beyond the long-established universities of Auckland (North Island) and Canterbury (South Island). This political move gave opportunity for educational innovation in the pedagogies of fine arts and art history. It was in this context that one independent art school in Auckland, ASA School of Art, seized the moment to work toward a more interdisciplinary notion of practice and theory. Given the opportunity to introduce a more... (shrink)

First coined in modernity, the aesthetic is a vague, polysemic and contested concept whose complexities arise from the variety of the ways it has been defined in the history of its theorization, but also in its formative prehistory in theories of art and beauty that preceded its modern coinage. After noting key points of that prehistory, the article traces three major modern tendencies in construing the aesthetic: as a special mode of sensory perception or experience that is relevant (...) to life in general; as a special faculty or exercise of taste focused on judgments of beauty and related qualities such as the sublime; and as a theory of fine art. The idea of aesthetic disinterestedness is critically examined, and contrasts between the concept of art in Western modernity and in pre-modern and Asian culture are also considered. (shrink)

The Miss America Pageant has served as a platform for beautiful women for a century. Throughout its long tenure, the Pageant has picked a woman each year to serve as the epitome of beauty and femininity. This paper will discuss the Pageant’s trends in the 1950s and 1960s. The Pageant controls the contestants’ talents, outfits, and time as they are in the competition. As such, they have almost complete control over who enters the competition and, by extension, who wins. (...) Through their screening process and judging criteria, the Pageant is able to choose a woman each year that embodies their version of the ideal American Woman. (shrink)

Do we watch sport for pure dumb entertainment? While some people might do so, Stephen Mumford argues that it can be watched in other ways. Sport can be both a subject of high aesthetic values and a valid source for our moral education. The philosophy of sport has tended to focus on participation, but this book instead examines the philosophical issues around watching sport. Far from being a passive experience, we can all shape the way that we see sport. Delving (...) into parallels with art and theatre, this book outlines the aesthetic qualities of sport from the incidental beauty of a well-executed football pass to the enshrined artistic interpretation in performed sports such as ice-skating and gymnastics. It is argued that the purist literally sees sport in a different way from the partisan, thus the aesthetic perception of the purist can be validated. The book moves on to examine the moral lessons that are to be learned from watching sport, depicting it as a contest of virtues. The morality of sport is demonstrated to be continuous with, rather than separate from, the morality in wider life, and so each can inform the other. Watching sport is then recognised as a focus of profound emotional experiences. Collective emotion is particularly considered alongside the nature of allegiance. Finally, Mumford considers why we care about sport at all. Addressing universal themes, this book will appeal to a broad audience across philosophical disciplines and sports studies. (shrink)

This chapter discusses some contributions that Mexican and Latinx phenomenologists have made to the critical phenomenology of home, i.e., the experience of “being at home in the world”—an experience that has always been both deeply cherished and bitterly contested. Tracing a line of thought that runs from the work of two Mexican phenomenologists in the 1940s and 1950s (Jorge Portilla and Emilio Uranga) to the work of two contemporary Latinx phenomenologists in the U.S. (Gloria Anzaldúa and Mariana Ortega), we (...) find a shared view that the Mexican and Latinx experience has been marked by zozobra, an anxious condition characterized by the inability to be at home in the world. However, these philosophers disagree about the source of this zozobra, and even whether zozobra is something that should overcome or embraced and celebrated. Reading these thinkers together, we learn that home is several things simultaneously: an essential foundation for human existence; an illusory ideal whose pursuit leads us to exclude vulnerable others and vulnerable parts of ourselves; and a site for the negotiation of the circumstances in which one finds oneself, in the tragic and beautiful hope of creating a life to call one’s own. (shrink)

In 2013 the mayor's office of Bogotá organized the first ever Mujer T. The event, originally conceived as a beauty pageant, generated considerable controversy. Unexpectedly, however, most of the criticism came not from conservative groups, but from well-known cisgender feminist scholars who criticized the event from a traditional gender perspective. A heated debate about the needs, challenges, desires, and opportunities of trans women continued during the weeks prior to the event. The discussion played out through blogs, social media, and (...) private and public conversations. Nevertheless, although there was much talk about transwomen, there was little room for their voices. This article argues that because of the actors involved, the dynamics and content of the conversations, and the changes that took place in its aftermath, Mujer T 2013 highlights how trans people's bodies, expressions—whether related to gender, culture, or politics—and self-determination processes are intensely policed and contested, even by those whose explicit intent is to support and celebrate them. Therefore, understanding the dynamics of what happened around Mujer T 2013 has important lessons for the development of trans-inclusive policies and initiatives, feminist scholarship and practice, and institutional and societal change. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Women Poets and the Origin of the Greek Hexameter W. ROBERT CONNOR A very considerable question has arisen, as to what was the origin of poetry. —Pliny the Elder, Natural History 7.57 i. a road trip with pausanias Tennyson called the dactylic hexameter “the stateliest measure / ever moulded by the lips of man,” but he did not say whose lips first did the moulding. Despite much arguing we (...) do not know for sure where it came from, or who developed it. But some ancient Greeks did, or thought they did. For them, the hexameter came with a personal history, a legendary one to be sure, but no less powerful for that. The legend, moreover, started with a woman poet. The trail that leads to this is a long and devious one, but a good guide presents himself, Pausanias, author of A Greek Guidebook (Hellados Periegesis). Although he is now valued primarily as a quarry cordoned off for topographers and archaeologists, he had a strong interest in poets, especially women ones. These include Sappho, of course, the valiant Telesilla of Argos of whom he tells two stories (2.20.8, and 2.35.2), and Praxilla of Sicyon (3.13.5). In his account of Boeotia he mentions another woman poet of the fifth century before our era, Corinna of Tanagra. She, he says (9.22.3f.), once defeated Pindar in a poetry contest, and was, he thinks, the most beautiful woman of her time, judging by a statue of her he had seen. He also speaks of Myro of Byzantium (9.5.8). Pausanias was confident that she had written epic and elegiac verse. arion 27.2 fall 2019 Pausanias chooses, moreover, to end his work with an enigmatic story about another woman poet, Anyte of Tegea. He had not mentioned her in his lengthy account of her home town in the mountains of Arcadia, but now her story seems to speak to him. It is set at a ruined shrine of Asclepius near the port town of Naupactus. The reason that Anyte had come there was a strange one: She had had, he says, a vision—not a dream, but a real vision—at the end of which she found herself holding a sealed tablet addressed to one Phalysius of Naupactus. He was, it turns out, a prosperous citizen of the town, but was going blind. Anyte made the journey, surely not an easy one, and delivered the tablet. As soon as Phalysius broke its seal, he found he could make out the letters—a wondrous improvement in his vision, which he attributed to the healing god Asclepius. That is why he built the shrine that Pausanias saw many years later. And the content of the message? Give Anyte two thousand gold staters. Phalysius did so. End of story. End of the Guidebook. So, indeed, Pausanias paid attention to women poets, and there were plenty of them to pay attention to. There is good evidence of a vibrant tradition of women’s poetry among the ancient Greeks. Pausanias is not the only writer of his time to note this. In fact, if on his journeys Pausanias had encountered the well-travelled rhetorician Tatian, the two near-contemporaries could have challenged one another to see who could name the largest number of women poets and identify the sculptors of statues honoring them. Tatian might have won, to judge from his Address to the Greeks, ch 33. But then, Tatian had an agenda. As a convert to a “barbarian” cult he wanted to show that his co-religionists had precedents for respecting women’s intellects: “My object in referring to these women is, that you may not regard as something strange what you find among us, and that, comparing the statues which are before your eyes, you may not treat the women with scorn who among us pursue philosophy.” So much for the Christian Tatian. Did Pausanias have an agenda, too? His stories of two women from Delphi, Boio 86 women poets and the origin of the greek hexameter and Phemonoe, help answer that question. ii. boio’s disruptive poetry when pausanias’s work describes Delphi, the plot thickens. In... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 11-21 [Access article in PDF] Alphonso Lingis's We—A Collage, not a Collective Alexander E. Hooke Alphonso Lingis. Abuses. Berkeley: U of California P, 1994. [AB]________. The Community of Those Who Have Nothing in Common. Bloomington: Indiana UP, 1994. [COMM]________. Dangerous Emotions. Berkeley: U of California P, 2000. [DE]________. Foreign Bodies.New York: Routledge, 1994. [FB]________. The Imperative Bloomington: Indiana UP, 1998. [IMP] For Walt Fuchs 1 Alphonso (...) Lingis is unabashed in his uses of we. He does not speak about a privileged we, an exemplary or hegemonic we, or "we." According to this American philosopher, the various ways critics qualify their references to first person plural (we, us, our) are unnecessary, if not unjustifiable. Their caution and skepticism about any direct use of we invariably lead one to focus on this important pronoun as if it were a rhetorical sleight of hand, an ironic twist, a sign of embarrassment or elitism. Worse, their gradual cynicism diminishes or derides the reality of those whose contact with others can only be articulated in terms of we or our. Thus readers, and students subject to these theoretical reservations, are tempted to circumvent any substantive meaning to first-person plural in their own reflections and research. Given the persuasive charms of these reservations, to admit a genuine or lived we involves the risk of being charged with superficiality, a lack of sophistication, nostalgia, or political naiveté. 1In the face of this risk, Lingis writes in first-person plural without apology. Seemingly oblivious to the ongoing controversies over any legitimate use of we—as if it connoted self-indulgence or self-delusion, Lingis depicts experiences and contacts that embody a substance to first-person plural. These contacts are presented directly and with little hesitation, as they often move one to awaken to daring, brazen, or unfamiliar individuals in their contexts and surroundings. To present them requires an air of innocence to the extent that the contacts appear as new to the writer as they are to the reader. [End Page 11]They encompass more than surprise and spectacle. They also initiate beliefs and emotions that embrace other truths: unfamiliar expressions of gods, strange forms of human commitments, eccentric relations humans have with the past and future, but also with animals, trees, and unseen spirits. These truths evoke the kinds of genuine goods and values that are better conceived not as potential instantiations or counterexamples to our generalizations and conventions, but rather as compelling additions to our own senses of reality and truth.In writing about we or us, however, Lingis also raises some critical stakes. While conversant with most of the influential figures and themes discussed under the postmodern rubric, Lingis extends their central ideas to new levels and fields of inquiry. Instead of scrutinizing the uses of first-person plural or maintaining a respectable distance from them, his philosophical endeavors are distinct insofar as they address: How do we, he and his audience, respond to the many kinds of contact that are readily dismissed insofar as they overlooked in our scholarly and philosophical endeavors? What might these other uses and realities of the first-person plural say that affirm, question, or contest us? Can his own work, lucidly presented in five recent books, contribute to contemporary discussions about the possibilities and pitfalls of human relations, cultural and political entities, social and biological communities, and the theoretical or critical reflections on them? 2 Lingis's answers are guided by looking at we more as a collage and less as a collective. A collage, unlike a collection, emphasizes or highlights the unpredictable ways that humans and other life forms come together. The use of we as a collective—whether the result of unconscious drives, chosen ideologies, an intersubjective ethic, or rational communication acts—emphasizes certain values, particularly those that help us to distinguish whether the experiences of we can be understood or appreciated in terms of true or false, good or bad, genuine or superficial, beautiful or ugly, familiar and significant terms for making judgments about moral, social, and... (shrink)

The place of eros in Christian theology has always been a contested one, not least because it is positioned as being at odds with agape, the kind of love that embodies gospel ethics. Matthew 25:31–46 calls us to “feed the hungry,” “quench the thirsty,” “shelter the homeless,” “clothe the naked,” and “visit the imprisoned” as emblematic examples of agapic love. This essay shows how a queer act, specifically that of a woman breastfeeding a starving man as depicted in the (...) tradition of Caritas Romana, can fulfill the ethical demands in Matthew's pericope. It demonstrates how the action first narrated by Valerius Maximus and then represented by Paul Peter Rubens beautifully fulfills the Matthean agapic demands, and concludes that queer practices have the potential to fulfill the gospel demands, situating the erotic at the core of the agapic. (shrink)

Although I am by no means a specialist in this field, I was struck with the ideas presented in Roger Caillois's work, Les feux et les hommes. In it he has attempted to classify games according to their basic character and the principles from which they stem. He has also tried to demonstrate that a certain kind of society corresponds to a certain category of games. In chapter viii of his book we encounter the transition from primitive societies, where games (...) that Caillois classifies as mimicry and ilinx (“mimicry” and “vertigo”) are the rule, to highly developed societies characterized by agôn (“regulated competition”) and alea (“chance”). The ideal toward which all modern, democratic societies aspire is total achievement of the requisite conditions for the proper evolution of agôn, not only in the realm of games, but in all of life, by guaranteeing equal opportunities to all citizens in their competition for wealth and power. However, as we can readily understand, this ideal can never be truly achieved, even in societies that are, theoretically, the most egalitarian. To this fact the author attributes the extraordinary passion for all forms of alea, which we witness today almost everywhere in the Western world. Chance offers compensation for the disappointments inherent in agôn, for the inevitable inequalities among members of any human group. Caillois provides a penetrating analysis of all the forms that alea asumes in our times (games of “double or quits,” betting, lotteries, beauty contests, infatuation with movie stars), and he cites examples to illustrate the passions they arouse. I was all the more impressed because they are practically non-existent in Finland. This is due, in my opinion, to the fact that in Finnish society opportunities for agôn are equally distributed among its members; thus they do not feel the need to seek compensation in the whims of alea. (shrink)

One of Hans Christian Andersen's most beautiful tales is "The Emperor's Nightingale." Its message—an exceptionally sobering one in the present context—is that nature is altogether finer and more enduring than art. It tells how a Chinese emperor, beguiled by a precious imitation bird that had been given him, forsook a natural songster he had once favored. But when that glittering counterfeit broke down, its clockwork sound silenced, the now aged ruler found welcome solace in the real bird's return, in its (...) more reliable and spiritually healing song. . . . Despite the artist's foregone defeat in any contest with nature , over the ages artists have been irresistibly drawn to the challenge of imitating nature. The persistence of these claims upon their skills and the inventive flight that have been elicited in the process testify to the extraordinary hold that the desire to mirror nature, or better still, to capture something of its essence, can exert over artists and their public. Accounts of imitative prowess go back to the most ancient days, beyond the fabled skills of Zeuxis and Apelles. There is no need here to summarize the complicated but almost domestically familiar history of illusionism. Rather, it is my present intention to reflect upon some contradictions inherent in the conception of art as illusion and to review some of the more exaggerated forms in which efforts have been made to break down the boundaries between art and nature. Frank Anderson Trapp, William Rutherford Mead Professor of Fine Arts, chairman of the department of art, and director of the Mead Art Museum at Amherst College, is the author of The Attainment of Delacroix and a number of essays on the history of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Keaton’s Yoke ALEX PRIOU Love, looking at me meltingly under dark-lidded eyes, by all manner of charms throws me into the limitless fishing-net of the Cupridian [Aphrodite]. And I tremble as he approaches, just as an aged, yoke-carrying horse that has carried off victory unwillingly walks into contest with swift chariots. (Ibycus, frag. 287)1 The resurgence of love in his old age prompts a fearful reflection in the aged (...) Ibycus. Love sets a trap he must escape, but cannot for all its infinitude, just as an athlete’s prior victories never sate his love of competition. Ibycus discovers the paradox of his situation, that the satisfaction sought is immeasurably greater than what a finite victory could ever provide. The competition of rival lovers for the beautiful beloved appears to Ibycus to be an immediate contrivance for an ineluctably distant object. Ibycus thus learns that love is human finitude’s attempt to answer the question that it itself raises. And yet, despite his fear, Ibycus’ reflection seems more comic than tragic, for his bestial image of love’s effects subverts all pretense to participation in the divinity of Aphrodite. The thought that the ultimate object of love’s longing is spurious may engender fear, but fear, in giving us an acute sense of our mortal limits, has the potential to take us outside ourselves and so prepare us for laughter. For reasons this tattered remnant of Ibycus’ poem doesn’t give us, the apparent tragedy of love—of the simultaneous necessity of pursuing the beloved and impossibility of complete satisfaction—appears resolved by our very awareness of it.2 Thankfully, Ibycus’ vision of love as both tragic and comic has a striking corollary in the films of Buster Keaton, who arion 26.3 winter 2019 mirrors the tension between yoked racehorse and reflective poet in the determined striving of his protagonists and the reflective depth of his directing. As both actor and director, Keaton is both striving body and disembodied thought, both trapped in finitude and reflecting thereupon. Ibycus and Keaton may bear love’s yoke, but they know the yoke’s on them. Keaton’s films thus promise some glimpse into the possibility of a comic redemption to the tragedy of lover and beloved, so much so that it seems one can connect these tatters of papyrus using celluloid film. Can the finite, particular beloved ever satisfy the lover, who strives to escape the limits of finitude? Or must we resign ourselves to our own transience? Keaton explores these questions by crafting comedies around characters who so strive. These characters—strikingly similar in their circumstances and ambitions, yet with slight but essential differences in disposition—offer Keaton a way to look for who bears easiest the weight of love’s yoke. I’ve chosen four films—Cops, College, The Playhouse, and The General—that, when ordered thus, bring us gradually from unavoidable tragedy to the unwitting self-redemption that comes when we laugh at ourselves. Discussing each in turn, I hope to offer some glimpse into what Ibycus may have had in mind when he playfully cast man’s most distinctive and serious striving as a yoked horse. CO P S (1922) the burden of love’s yoke is nowhere clearer in Keaton’s films than in Cops, as the film’s ominous epigraph warns: “Love laughs at locksmiths.” Keaton the director elegantly and humorously frames Keaton’s character as among love’s prisoners. The first shot features him behind bars, gripping them from within what appears to be a jail cell, as he and his love interest carry on a discussion with forlorn looks on their faces. Because the camera is on her side of the bars, we are invited to imagine ourselves free from Keaton’s predicament. She bids him farewell, and as she walks away Keaton the 116 keaton’s yoke director cuts to the other side of the bars and at a greater distance from the action. We discover that he isn’t in jail, but standing outside the gates to a great mansion. Keaton’s love interest turns around and speaks again, now stern rather than solemn. An intertitle finally... (shrink)

Police killings of unarmed Black people have ignited a national and international response unlike any in decades. But differing from their civil rights-oriented predecessors, today’s activists do not think that the institutions and values of liberal democracy can eradicate structural racism. They draw instead on a Black radical tradition that, Terrence L. Johnson argues, derives its force from its unacknowledged ethical and religious dimensions. We Testify with Our Lives traces Black religion’s sustained influence from SNCC to the present, reconstructing a (...) radical lived ethics of freedom and justice. Johnson demonstrates that Black Power fundamentally contests liberalism’s abstract understanding of democracy, calling instead for new embodied frameworks to achieve human flourishing and dignity. Black bodies represent the primary form of resistance against violent and oppressive regimes of white supremacy and exploitation, and the individual and collective struggles of Black life bear witness to the dogged determination to cultivate beauty, rage, and joy. Considering the writings of Audre Lorde, Toni Cade Bambara, Stokely Carmichael, Martin Luther King Jr., Malcolm X, and James Baldwin, We Testify with Our Lives makes its case through a new narrative of the evolution of Black radicalism from the civil rights movement through the Movement for Black Lives. It forges new insights into Black Power’s vital contributions to debates on ethics, transnational politics, democracy, political solidarity, and freedom—and its potent resources for the ongoing struggle to build democratic possibilities for all. (shrink)

This paper analyses Soros' theory of reflexivity by breaking it down into several component concepts that are individually well analysed in existing literature – including performativity, self-reinforcing feedback loops and uncertainty. By focusing on the cognitive myopia implied by analytical monocultures and on the indeterminacy implied by innovation, it helps establish boundaries of applicability for reflexivity models. It argues that Soros largely ignores a key element in the formation of self-reinforcing delusions or market bubbles – the role played in conditions (...) of uncertainty by homogeneous social narratives and shared mental models. This paper also examines how social learning, rhetoric, power, emotional contagion, the discourse of ‘best practice’, ‘and Keynes' beauty contest may lead to such shared narratives and analytical homogeneity in markets. It concludes that market instability results when there is insufficient cognitive diversity or heterogeneity of beliefs among actors to enable them to spot anomalies and novelties. (shrink)