LIX Whitman the Non-Hegelian

PMLA ◽  
1943 ◽  
Vol 58 (4_1) ◽  
pp. 1073-1093
Author(s):  
Olive Wrenchel Parsons
Keyword(s):  
The Other ◽  
The Moon ◽  
American Poet ◽  
German Philosopher ◽  
Do So

A Subject that seems destined to cause comment periodically is the similarity between the American poet Whitman and the German philosopher Hegel. Oddly enough, however, the dissimilarity between the two men has received comparatively little mention and still less emphasis. Yet this dissimilarity is not to be taken for granted, like the other side of the moon. Scholars who do so take it fail to do justice either to Hegel, the triad-maker, or to Whitman, his admirer. The purpose here is to point out some of the most conspicuous differences between the two men, which, it is believed, reveal that many of the likenesses cited from time to time are misleading, if not fallacious, or are too general to be of significance.

Challenging Gender Hierarchies in Narratives of the Nation: Representations of Women in Zintgraff and the Battle of Mankon and Hard Choice

Imbizo ◽  
2020 ◽  
Vol 11 (2) ◽  
Author(s):  
Naomi Epongse Nkealah ◽  
Olutoba Gboyega Oluwasuji
Keyword(s):  
The Other ◽  
Literary Texts ◽  
Gender Differentiation ◽  
Hard Choice ◽  
Other Hand ◽  
Gender Hierarchies ◽  
The Face ◽  
The One ◽  
Representations Of Women ◽  
Do So

Ideas of nationalisms as masculine projects dominate literary texts by African male writers. The texts mirror the ways in which gender differentiation sanctions nationalist discourses and in turn how nationalist discourses reinforce gender hierarchies. This article draws on theoretical insights from the work of Anne McClintock and Elleke Boehmer to analyse two plays: Zintgraff and the Battle of Mankon by Bole Butake and Gilbert Doho and Hard Choice by Sunnie Ododo. The article argues that women are represented in these two plays as having an ambiguous relationship to nationalism. On the one hand, women are seen actively changing the face of politics in their societies, but on the other hand, the means by which they do so reduces them to stereotypes of their gender.

Euthyphro, Apology, and Crito

2019 ◽  
pp. 117-140
Author(s):  
Hugh H. Benson
Keyword(s):  
The Other ◽  
Other Hand ◽  
Virtuous Life ◽  
The One ◽  
Do So

This chapter presents a reading of Plato’s Euthyphro, Apology, and Crito. These dialogues, in which Plato depicts the weeks leading up to Socrates’s last day, are replete with various philosophical explorations. Among those explorations is the question of how to live our lives. On the one hand, Socrates is clear and straightforward. We should live the examined life—making logoi and examining ourselves and others in order to determine whether we are as wise as we think we are, and we should live the virtuous life. This is how Socrates lives his life. On the other hand, the examined life undercuts, or at least should undercut, the confidence with which he seeks to live the virtuous life. It may help bring some stability to the general principles by which he lives his life, but it can do so only defeasibly and without certainty.

A Comparison of Wolff’s and Kant’s Receptions of Emanuel Swedenborg

Kant-Studien ◽  
2021 ◽  
Vol 112 (1) ◽  
pp. 1-22
Author(s):  
Laura Follesa
Keyword(s):  
Eighteenth Century ◽  
The Other ◽  
Christian Wolff ◽  
Emanuel Swedenborg ◽  
German Philosopher ◽  
The One

Abstract Kant’s Dreams of a Spirit-Seer (1766) did not provide the sole perspective through which Emanuel Swedenborg’s work was known in Germany in the eighteenth century. Before Kant, another German philosopher was interested in Swedenborg from a completely different perspective: Christian Wolff. On the one hand, this paper analyzes the meaning of Wolff’s anonymous reviews of Swedenborg’s early writings published in Acta Eruditorum, the authorship of which was only recently discovered, in order to show Swedenborg’s intertwinement with German scholars during the 1720s. On the other, I juxtapose Kant’s and Wolff’s evaluations of Swedenborg’s work at the origins of their different attitudes towards fundamental problems such as the nature of the soul and immortality.

The Body in Theory

1998 ◽  
Vol 16 (4) ◽  
pp. 387-400 ◽  
Author(s):  
Felicity J Callard
Keyword(s):  
Queer Theory ◽  
20Th Century ◽  
The Body ◽  
The Other ◽  
Industrial Capitalism ◽  
Late 20Th Century ◽  
The Social ◽  
Theoretical Investigations ◽  
The One ◽  
Do So

Geographers are now taking the problematic of corporeality seriously. ‘The body’ is becoming a preoccupation in the geographical literature, and is a central figure around which to base political demands, social analyses, and theoretical investigations. In this paper I describe some of the trajectories through which the body has been installed in academia and claim that this installation has necessitated the uptake of certain theoretical legacies and the disavowal or forgetting of others. In particular, I trace two related developments. First, I point to the sometimes haphazard agglomeration of disparate theoretical interventions that lie under the name of postmodernism and observe how this has led to the foregrounding of bodily tropes of fragmentation, fluidity, and ‘the cyborg‘. Second, I examine the treatment of the body as a conduit which enables political agency to be thought of in terms of transgression and resistance. I stage my argument by looking at how on the one hand Marxist and on the other queer theory have commonly conceived of the body, and propose that the legacies of materialist modes of analysis have much to offer current work focusing on how bodies are shaped by their encapsulation within the sphere of the social. I conclude by examining the presentation of corporeality that appears in the first volume of Marx's Capital. I do so to suggest that geographers working on questions of subjectivity could profit from thinking further about the relation between so-called ‘new’ and ‘fluid’ configurations of bodies, technologies, and subjectivities in the late 20th-century world, and the corporeal configurations of industrial capitalism lying behind and before them.

Interaction between patient and health professional

2021 ◽  
Vol 16 (3) ◽  
Author(s):  
Anita Naemi Holm
Keyword(s):  
Health Professional ◽  
Health Sector ◽  
Richard Rorty ◽  
Cultural Encounter ◽  
Theoretical View ◽  
German Philosopher ◽  
The One ◽  
Hans Georg Gadamer ◽  
Shed Light ◽  
Do So

This article presents a theoretical view on culturally embedded thinking and action in encounters between patient and health professional. A key point of the analysis indicates that a highly efficient health sector may entail an implicit duality: on the one hand, the health professional can and often must relate pragmatically to the patient in order to solve problems and do so quickly, while on the other, the professional may be personally challenged when embedded cultural thinking leads to conflicts or dilemmas. This means that a purely pragmatic perspective will be challenged when such conflicts arise. The article looks at interrelated concepts such as ‘culture’, ‘prejudice’ and ‘meaning’ in order to shed light on the presuppositions that are brought into the cultural encounter between patient and health professional. This kind of analysis will hopefully contribute to a raised awareness of what is actually – apart from pragmatic problem solving – going on in such encounters. The conceptual framework used in this article primarily draws on the German philosopher Hans-Georg Gadamer, which is contrasted with the pragmatic perspective from the American philosopher Richard Rorty.

Toxæmia in the Etiology of Mental Disease. a Discussion opened

1902 ◽  
Vol 48 (202) ◽  
pp. 434-450 ◽  
Author(s):  
T. S. Clouston
Keyword(s):  
Nerve Cell ◽  
General Trend ◽  
Mental Disease ◽  
The Other ◽  
British Association ◽  
Younger Men ◽  
Full Knowledge ◽  
The Subject ◽  
Definition Of ◽  
Do So

Dr. Clouston said that when he suggested toxæmia to the secretary as a suitable subject for a discussion at this meeting he had not intended to be the first speaker, because his object was to bring out more fully the views of the younger members who had recently committed themselves so strongly to the toxæmic and bacterial etiology of insanity, and so to get light thrown on some of the difficulties which he and others had felt in applying this theory to many of their cases in practice. It was not that he did not believe in the toxic theory as explaining the onset of many cases, or that he under-rated its importance, but that he could not see how it applied so universally or generally as some of the modern pathological school were now inclined to insist on. He knew that it was difficult for those of the older psychological and clinical school to approach the subject with that full knowledge of recent bacteriological and pathological doctrine which the younger men possessed, or to breathe that all-pervading pathological atmosphere which they seemed to inhale. He desired to conduct this discussion in an absolutely non-controversial and purely scientific spirit. To do so he thought it best to put his facts, objections, and difficulties in a series of propositions which could be answered and explained by the other side. He thought it important to define toxæmia, but should be willing to accept Dr. Ford Robertson's definition of toxines, viz., “Substances which are taken up by the (cortical nerve) cell and then disorder its metabolism.” He took the following extracts from his address at the Cheltenham meeting of the British Association (1) as representing Dr. Ford Robertson's views and the general trend of much investigation and hypothesis on the Continent.

Anniversary Address

1986 ◽  
Vol 66 (1) ◽  
pp. 1-8 ◽  
Author(s):  
John D. Evans
Keyword(s):  
The Other ◽  
Average Amount ◽  
Strong Body ◽  
Do So

The other day I received a letter from someone I did not know, but who shares my rather common surname. This gentleman had received a piece of mail intended for me—a Who's Who entry for correction, in fact. The occurrence in itself was not very remarkable, as those of you who have surnames which are as widely distributed as mine will especially appreciate. What was particularly striking to me was that my correspondent began his letter by saying that he had never written to an archaeologist before, and could not resist the temptationto do so now. I replied that I was somewhat surprised that archaeologists could still have such a curiosity value; it had been my impression that we had become so relatively common during the last two decades as not to attract much more notice than many other professions. We are still not, and are never likely to be, a large profession, but there is also, of course, a strong body of serious amateurs who can also reasonably call themselves qualified archaeologists—and we do get a more than average amount of publicity.

The Other Face of the Moon: Side Effects, Interactions and Molecules of Concerns

2017 ◽  
pp. 141-176
Author(s):  
Chiara Di Lorenzo ◽  
Aymeric Dopter ◽  
Sarah Vecchio ◽  
Saskia Lüde ◽  
Francesca Colombo ◽  
...  
Keyword(s):  
Side Effects ◽  
The Other ◽  
The Moon

scholarly journals Attention and the motion after effect: New measurements with visual search reveal important individual differences in adaptability

2018 ◽  
Author(s):  
Michael J. Morgan ◽  
Joshua A. Solomon
Keyword(s):  
Reaction Times ◽  
Visual Pathway ◽  
Human Vision ◽  
The Other ◽  
Test Array ◽  
Mouse Click ◽  
Search Speed ◽  
After Effect ◽  
The One ◽  
Do So

AbstractIt is usually assumed that sensory adaptation is a universal property of human vision. However, in two experiments designed to measure adaptation without bias, we have discovered a minority of participants who were unusual in the extent of their adaptation to motion. One experiment was designed so that targets would be invisible without adaptation; the other, so that adaptation would interfere with target detection. In the first, participants adapted to a spatial array of moving Gabor patches. On each trial the adapting array was followed by a test array in which but all of the test patches except one were identical to their spatially corresponding adaptors; the target moved in the opposite direction to its adaptor. Participants were required to identify the location of the changed target with a mouse click. The ability to do so increased with the number of adapting trials. Neither search speed nor accuracy was affected by an attentionally-demanding conjunction task at the fixation point during adaptation, suggesting low-level (pre-attentive) sites in the visual pathway for the adaptation. However, a minority of participants found the task virtually impossible. In the second experiment the same participants were required to identify the one element in the test array that was slowly moving: reaction times in this case were elevated following adaptation. The putatively weak adapters from the first experiment found this task easier than the strong adapters.

scholarly journals Lunar

JOGED ◽  
2017 ◽  
Vol 7 (2) ◽  
Author(s):  
Dewi Sinta Fajawati
Keyword(s):  
Full Moon ◽  
Big Bang ◽  
The Other ◽  
The Sun ◽  
The Moon ◽  
Big Bang Theory ◽  
Essential Idea ◽  
Visual Reaction ◽  
Night Sky ◽  
The One

Bulan merupakan sumber inspiratif dalam penggarapan karya tari ini. Secara ilmu pengetahuan, Bulan adalah benda langit yang disebut satelit, satelit satu-satunya yang dimiliki Bumi dan tercipta secara alami. Banyak teori yang mengatakan tentang terbentuknya Bulan, salah satunya adalah teori Big bang atau dentuman besar. Pada dasarnya Bulan hanyalah sebuah Benda besar berbentuk bulat yang tidak bisa bercahaya, cahaya yang kita lihat pada malam hari merupakan refleksi dari cahaya matahari. Akan tetapi keindahannya memang tidak bisa dipungkiri, karena dia paling bercahaya diantara hamparan langit yang gelap. Cahayanya tidak selalu terang, bahkan tidak selalu bulat, terkadang hanya terlihat setengah atau terlihat seperti sabit..            Penata tari memetaforakan objek bulan yang berada di tempat yang sangat tinggi sebagai sebuah cita-cita yang ingin dicapai. Seringkali lagu anak-anak yang menjadi pengalaman auditif penata tari, menjadikan bulan sebagai objek yang ingin digapai, misal lagu ‘Ambilkan Bulan Bu’. Namun intisari yang akan dipakai dalam penggarapan koregrafinya adalah tentang fase bulan yang tercipta. Bersumber dari rangsang awal melihat bulan atau rangsang visual, penata tari menginterpretasikan fase-fase bulan yang terjadi sebagai fase kehidupan yang dijalani untuk menggapai sebuah cita-cita tersebut.            Koreografi diwujudkan dalam bentuk kelompok dengan membagi dua karate penari. Delapan penari merupakan simbolisasi Bulan, dan satu penari sebagai manusia yang bercita-cita. Dengan bentuk tari dramatik, penyajiannya dibagi menjadi 5 adegan, yaitu Introduksi Big bang, Adegan 1 Moon happen, Adegan 2 Mengejar Impian, Adegan 3 Dancing with Moon, dan Ending ‘Catch Your Dream’. The moon is the essential inspirations of this choreograph. Theoretically, the moon is a sky object which is called as satellite. The one and only naturally created satellite belongs to the planet Earth. There are many theories that explain how the moon was created. One of those theories is Big Bang theory or massive crash. Basically, the moon is just a huge circle thing which is unable to shine its glow. The light that we experience in the evening is the reflection of the sun. However, thebeauty of the moonlight is undeniable as it has the significant light within the darkest night sky. Its light is not always the strongest, even it’s not always circle (full), every so often it is seemed only the half part of it or crescent moon.            The choreographer interpreted the moon that belongs in the highest as the goals that she wants to reach. Most of the time, the children songs (lullaby) that pick the moon as the main object that is desired to be reached, for example the song “Ambilkan Bulan, Bu”. The essential idea that is explored in this choreograph is the creational phase of the moon itself. It was started by way of visual reaction when the choreographer observed the moon, she interpret the moon’s phases as the phases in human’s life which are gone through to reaching their goals. Fall and recovery, passionate, and even sometimes they give it in, are interpreted from the moonlight. The full moon which has the brightest and the most perfect light is likened as the strong spirit. The crescent moon with its soft light is interpreted as low spirit and unconfident.             This in-group-choreograph is separated into two characters with 8 female dancers that are the symbolization of the moon and the other one female dancer symbolizes a human with aspire. With dramatic dance form, this choreograph is presented into five parts, including introduction part of Big Bang, Moon Happen in part one, Chasing Dream is part two, Dancing With The Moon in part three, Catch Your Dream in the ending part.

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