Seminal Text Research Articles

Introduction: Race, Politics, and the Humanities in an Age of “Posts”—Rethinking the Human/Race

This Special Issue of Humanities comes at a time when the viability of the humanities are challenged on numerous fronts. [...]

Renaissance of Investors' Control in 21st Century: Crowdfunding

Berle and Means in their seminal text The Modern Corporation and Private Property (1932) introduced a thesis on the separation of ownership and control in modern corporations. One of the arguments of Berle and Means was that the rise of large corporations in the United States left an enormous concentration of economic power in a relatively small number of organizations. Eighty-five years later, we witness a different direction of development. Globalization, capital dispersion and technological progress have generated greater competition by allowing formation of new entities in almost every other second. These mavericks happen to operate in technological industry, supported usually by venture capital firms. Besides venture capital, there has been a boom of new medium for financing: crowdfunding. Crowdfunding is a mass financial collaboration through large number of people using social media and internet. There are number of internet platforms, which allow crowdfunding. Some focus only on low-budget projects, but some enable investments of thousands of dollars. One may say that crowdfunding supports the dispersion of ownership and therefore diffusion of investors’ control, depending on how many investors have decided to contribute. Yet, looking at the crowdfunding from another perspective, crowdfunding is only successful if sufficient threshold is reached. The crowdfunders have to bring an idea that among thousands catches the necessary attention of many. The project initiators have to present an appealing case, why it is “them” who the investor should fund and support. Exploring the crowdfunding platforms and the launched projects, one realizes that the projects that plead for support sustainability and claim to be often socially and environmentally responsible. They are usually novel and inspiring. Thus, investing in crowdfunding projects is based on more than just an interest in profit making. There is additional layer of significance of the idea. Managers as well as lawyers should be able to understand the additional character behind crowdfunding, not only from the perspective of attaining investors’ interest but also from the perspective of deal and investment structuring. The main claim of this article is that crowdfunding enables direct control over the newly established projects, and possibly over the new direction of corporate culture. It is without any doubt that crowdfunding per se encompasses number of challenges. Yet, if used wisely, crowdfunding may bring substantial difference into the corporate culture, where people will place social and societal progress before their demand for profit.

Health Visiting: Preparation for Practice (Fourth edition) Luker Karen A Mchugh Gretl A and Bryar Rosamund M Health Visiting: Preparation for Practice (Fourth edition) 312pp £32.99 Wiley Blackwell 9781119078586 111907858X

Having an understanding of the role and responsibilities of health visitors and the wider influences on their practice has never been more important. While it is not always easy to write about in a way that attracts and engages the reader, this revised edition of a seminal text achieves this.

The Socratic Black Panther: Reading Huey P. Newton Reading Plato

This essay examines the role of Platonic literature and philosophy in part 2 of Newton’s (1973) Revolutionary Suicide (RS) and argues that Plato’s Republic, as the seminal text in Newton’s early adult life, intertextually directs the course of events, both the ways Newton describes the plight of Black America and how Newton engages other literary texts, poetry in particular. Over the course of part 2 of RS, Newton increasingly adopts the guise of a modern day Socrates, confounding his white opponents and revealing the truth about racial oppression. Studying prose texts, especially philosophy, becomes (inter)textually symbolic for racial enlightenment, on the one hand, and for the responsibility Newton sees of himself to share that enlightenment with those still chained in the dark recesses of the cave, on the other.

Better late than never: understanding Chinese philosophy and ‘translating it’ into the western academy

‘To translate’ means quite literally ‘to carry across, to bring across,’ that is, ‘to remove from one place to another.’ The questions I want to address in this essay are: To what extent have we been successful in, first, understanding the Chinese philosophical narrative and, then, in ‘carrying it across’ into the western academy? To what extent have we been able to grow and ‘appreciate’ (in the sense of value-added) our own philosophical parameters by engaging with this antique tradition? The self-conscious strategy of translation, then, must be to go beyond word-for-word translation and attempt to enable students of Chinese philosophy to read the seminal texts by providing them with a means of developing their own sophisticated understanding of a set of critical Chinese philosophical terms. The premise is that there is no real alternative but to cultivate a nuanced familiarity with the key Chinese vocabulary itself. It is in this effort to take Chinese philosophy on its own terms, then, that we must begin from the interpretive context by taking into account the tradition’s own indigenous presuppositions and its own evolving self-understanding. We must be aware of the ambient, persistent assumptions that have given the Chinese philosophical narrative its unique identity over time.

Film as Film in the twenty-first century: the function and evaluation of diegesis and disruption

The recent death of V.F. Perkins will bring renewed attention to his body of work, including his seminal text (and only full-length book), Film as Film.1 His work first came to attention via his contributions to Movie, a journal he cofounded in 1962 with Ian Cameron, Mark Shivas and Paul Mayersberg (and soon to be joined by Robin Wood), yet it was only with Film as Film, originally published in 1972, that Perkins fully set out his philosophy and methodology of film criticism. Although he reviewed and refined some of the positions taken in that book over the years that followed – some important revisions are contained in his 2005 piece ‘Where is the world?’ – he never deviated from its central vision. That vision involved a passionate commitment to a method of interpretation that combined vivid imagining of the fictional world with close attention to artistic techniques of signification. A single sentence from an article originally published in Movie will perhaps serve to demonstrate this vision in microcosm: ‘Much of the meaning of [Nicholas Ray’s] King of Kings is contained in its intricate pattern of looking, glancing and staring’.2 We cannot, according to Perkins, fully appreciate the meaning (either as noun, in the sense of that which a film conveys, or as participle, as in how a film goes about being meaningful) of a fictional film without both imaginatively inhabiting its fictional world and paying close attention to its formal patterning.

A Children's History of (Native) America: The Tales of Peter Parley, about America

A Children's History of (Native) America:The Tales of Peter Parley, about America Gina Marie Ocasion (bio) I hope my little readers will learn this story, so that they can tell it all without the book. Peter Parley1 In 1830 the Indian Removal Act passed the Jackson White House, forcing indigenous peoples of the Southeast into territories west, past the Mississippi River. The act came into being after years of legislative debates over Indian treaties, projecting onto the river all the significations of a political border–a physical division between nations and races. In one of many examples, James Barbour in a House debate in 1828 argues "that the plan of collecting the Indians on suitable lands West of the Mississippi, contains the elements of their preservation," thus embedding the river in a legal codification of removal, exclusion, and oppression.2 The legal adoption of this racial boundary concretized the building anxieties surrounding a definable American identity. Americanness in this moment is best understood by what it denies and pushes "far west over the mountains" or deep into the South.3 Jacqueline Rose points to this emphasis on territory in her seminal text, The Case of Peter Pan: Or the Impossibility of Children's Fiction (1984), when she aptly notes, "in the still 'childlike' state of American civilization, history could be read directly off the land (history based on geography), whereas if you were after the cultural origins of England, then you had to dig for them."4 In this moment, Rose draws [End Page 51] out a connection between the "child" nation and a readable landscape, arguing that American historical narratives are written on the surface, in plain view. There is a way in which histories for children echo in this articulation of nation and narrative: boldly didactic, laboring over a naturalized representation. This reliance on geographies of containment and exclusion are understood as a fantasy. Native peoples endured east of the Mississippi. The contact zones created by such ideological separations complicated an already paradoxical narrative of American experience.5 The narrative is paradoxical in that the desire to see immaterial ideologies of white supremacist, patriarchal, heteronormative Americanness physically constructed requires the embodied representation of what lies outside this figuration. Taking up this unsettled national territory and unstable national identity, this essay will look to a popular children's history, uncovering a process of interpellation into a national body defined by the "material and metaphoric resonances" of racial borders.6 Indeed, the nuances of geographic borders and racialized identities are compounded in this study by childhood as a conceptually bordered space of extended leisure and constant development. In 1827 Samuel G. Goodrich published the first of what was to be a wildly successful series, The Tales of Peter Parley, about America. Selling upwards of seven million copies, engaging canonical authors, and "exert[ing] immense influence over American audiences," Goodrich's Parley occupied a powerful place in the antebellum nineteenth century.7 In the space of twenty-seven years, he published seventy-eight books in this series, and many of them have multiple editions. By virtue of this incredible permeation in early America, these children's books are a site of significant cultural work. Indeed, when Nathaniel Hawthorne and his sister, Elizabeth, were famously compelled to write under Goodrich's name, they collaborated on Peter Parley's Universal History on the Basis of Geography (1837). Taking the job for a meager profit, "evidently, Hawthorne accepted the assignment because he regarded the work as relatively easy. In explaining the project to Elizabeth, he observed, 'It need not be superiour [sic], in profundity and polish, to the middling Magazine articles' (XV: 245)."8 While Hawthorne considered it a trivial project at best, Peter Parley's Universal History was quickly adopted by U.S. schools and sold over one million copies.9 Taken up in both schools and homes as an authority in children's education, the Peter Parley series was a common companion for American youths. The historical records indicating Peter Parley sales and the common reference to this character in the antebellum nineteenth century, including an approval by Lydia Sigourney, affirms the ubiquitous presence of these texts in children...

The Slow Professor: Challenging the Culture of Speed in the Academy by Maggie Berg and Barbara K. Seeber

Reviewed by: The Slow Professor: Challenging the Culture of Speed in the Academy by Maggie Berg and Barbara K. Seeber Sandra D. Shattuck The Slow Professor: Challenging the Culture of Speed in the Academy by Maggie Berg and Barbara K. Seeber Toronto: U of Toronto Press, 2016. 128 pp. As soon as I saw the title of Berg and Seeber's book, I breathed out, as if I were finishing a session of meditation. How wonderful would it be if I could slow my teaching life down? Not obsess over the pile of papers waiting to be responded to and graded. Not worry that my annual self-evaluation would ever get written. To actually read something for pleasure, something that caught my fancy and not something that had to be assessed, deadline attached. What kind of life would that be? A balanced one. A sane one. The truth is that many academics in the twenty-first century function on the edge of crazy. But our work-induced desperation is not a topic any of us broaches. Thus, in order to write this book, Berg and Seeber had to push beyond two boundaries: one was the complicit silence muffling the topic, and the other was disciplinary. As Berg and Seeber point out in their introduction, discussing mental health is taboo, even though a large body of research proves that faculty incur increasing stress and work-life imbalance as they take on more and more tasks to fulfill the mandates of the corporate university. Moreover, as Berg and Seeber state, the traditional profile of an academic, which includes "the ideals of mastery, self-sufficient individualism, and rationalism" (12), mitigates against speaking up or collective action. As they state, What began simply as helping each other became a sustained investigation of academia. We see our book as uncovering the secret life of the academic, revealing not only her pains but also her pleasures. Writing this book provoked the anxiety of speaking what is habitually left unspoken, and we continually needed to remind ourselves that the oscillation between private shame and the political landscape would prove fruitful. (12) [End Page 80] The corporatization of one's workplace and craft; the loss of health, collegiality, and pleasure in one's work; the increasing isolation of a digitally managed life—these are all big concerns we can discuss in any profession, but Berg and Seeber invite us to focus these concerns on the university. The authors' significant innovation is to apply principles of the Slow movement to academia. In fact, the title of Berg and Seeber's book pays homage to Carl Honoré's seminal text, In Praise of Slowness: Challenging the Cult of Speed. But to effect this application, Berg and Seeber had to move beyond their disciplinary boundary as literary critics—they're both professors in departments of English language and literature in Canadian universities—and engage interdisciplinary research and thinking in fields such as psychology, sociology, and management, represented by academic journal titles in the Works Cited pages such as Journal of Applied Social Psychology, Journal of Management Studies, and Administrative Science Quarterly, among others. Offering a succinct assessment of their project and the research required, Berg and Seeber state that "our book is more optimistic than works on the corporate university, more political and historicized than self-help, and more academically focused than those on stress and the Slow movement" (vii). Stepping out of one's disciplinary comfort zone is no little feat in a business that evaluates its employees on what they know rather on investigating what they don't know. And Berg and Seeber point to this shame and discomfort: "Ironically, our feelings of lack of productivity and not measuring up have not led us until now to 'read' the institution; our self-blame has played into corporate values" (12–13). Their project was not without pushback from colleagues, some of whom told Berg and Seeber "to wake up and get with the program" and that they were "simply too busy to slow down" (11). Berg and Seeber's diagnosis of the problem in their introduction is well worth the read. "Corporatization" is the villain, and the authors summarize the...

Mapping the Traces of the Media Arts Center Movement

Mapping the Traces of the Media Arts Center Movement Lindsay Kistler Mattock (bio) Allen and Gomery's seminal text Film History: Theory and Practice encouraged film scholars to move beyond the filmic object and consider the archives as an object of inquiry. The archives contain not only moving images encoded on film and video but also the traces of the activities of the makers, distributors, exhibitors, and audiences that are part of the ecology of media production and viewership.1 The methodologies of new cinema history encourage the exploration of the archives, deemphasizing the focus on the film-as-text and opening new lines of historical inquiry. The distant reading practices of digital humanities open additional opportunities to explore the archival record and provide a deeper understanding of film and video production and consumption. Building from the archives of the Film Section of Pittsburgh's Carnegie Museum of Art, Mapping the Independent Media Community (MIMC)—an ongoing digital humanities project—builds from these practices to historicize the Media Arts Center Movement of the 1970s and its impact on independent film and video production, distribution, exhibition, and preservation throughout the 1970s and 1980s. Histories of independent media production center on the efforts of artists, exploring each work of film or video as the personal product of an individual.2 In reality, the growth of independent media production throughout the mid-to late twentieth century was supported by a network of organizations, including museums, archives, artist collectives and cooperatives, and equipment access centers designated as Media Arts Centers. MIMC uses the Film and Video Makers Travel Sheet, a monthly publication produced by the Film Section of the Carnegie Museum of Art from 1973 to 1987, as the starting point for the project. The Travel Sheet aimed to "encourage and facilitate wider use of exhibition and lecture tours by film and video makers" by advertising the scheduled screenings and tentative travel plans of film and video makers and publishing the contact information for organizations that were willing to host makers and screen independent media. The Film and Video Makers Directory, published as a supplement to the Travel Sheet in 1978 and 1979, provides additional data points, listing the organizations and makers highlighted in the subsequent issues of the Travel Sheet as well as other subscribers to the publication. MIMC uses the Travel Sheet and Directory to analyze the network of organizations and individuals supporting the production, distribution, exhibition, preservation, and study of independent film and video during the formative years of the Media Arts Center Movement. Currently the first stage of development is entry of data from the Travel Sheet and Directory into a database application. Over the next year, the MIMC project team anticipates launching a web application that will allow researchers to query the MIMC database and generate visualizations of the data using network diagrams and mapping tools. This article outlines the development of the project over the last three years and its future direction as it aims to become a research tool for scholars and archivists concerned with independent media production in the United States and abroad. MEDIA ARTS CENTERS AND THE TRAVEL SHEET MIMC grew out of an interrogation of the history of the Media Arts Center Movement and an exploration of the role of Media Arts Centers in moving image preservation.3 In 1973, Pacific Film Archive curator Sheldon Renan articulated a plan for the development of regional film centers pushing against the perceived faults of the American Film Institute's centralized structure. At that time, he argued, the Museum of Modern Art (MoMA) in New York City, the Library of Congress, and George Eastman House were the three main centers with exhibition and archives programs, leaving key regions in the United States without representation. Renan points to a "grassroots" movement originating in these underserved regions—the Pacific Northwest, the central states, New England, and the Bay Area—arguing for the establishment of a "network" of "full service film resource centers" with a central facility in each region that would [End Page 119] Click for larger view View full resolution Figure 1. Organizations (squares) and individuals (teardrops) from the 1979 Film and Video Makers Directory. Map generated by...

The Foundational Manifesto of New Argentine Cinema? Israel Adrián Caetanos ‘Agustín Tosco Propaganda‘ (1995)

Agustín Tosco Propaganda was published in the Argentine film journal El Amante Cine. It was written by Israel Adrián Caetano before his film Pizza, Beer and Cigarettes (Caetano and Stagnaro, 1998) triggered the concept of New Argentine Cinema. In this provocative text, Caetano criticised the way Argentine cinema had usually been made and, in a form of manifesto, he presented the principles that his own films – and those of many other young directors – have followed since then. Although New Argentine Cinema has been thoroughly studied in the English-speaking academia, only a few authors have made reference to this seminal text. Being aware of the principles set in this manifesto more than twenty years ago will help researchers and students understand some important features that tend to be overlooked when exploring not only Argentinean cinema, but also many other cinemas of the region.

Listening for What is Being Asked: Understanding LGBT* Students Interactions with Student Affairs Professionals

This article explores the findings of a qualitative study conducted to better understand how students who identify as members of the LGBT* community and as people of color describe the ways in which student affairs professionals can meet their needs for persistence through college. This study also sought to assess how the students’ perception of the race, gender identity, and sexual orientation of the student affairs professionals impacted the degree to which the students felt their needs were being met. Using a hypothesis coding structure, the researcher explored whether students would describe their needs being met through practices of transgressive teaching, a style of engaged pedagogy described in the seminal text Teaching to Transgress: Education as the Practice of Freedom by bell hooks. This article will also make recommendations for future research and for student affairs practice.

Faust lesen, Faust verstehen by Gernot Böhme

Reviewed by: Faust lesen, Faust verstehen by Gernot Böhme William Carter Faust lesen, Faust verstehen. By Gernot Böhme. Bielefeld: Aisthesis, 2014. Pp. 75. Paper €9.80. ISBN 978-3849810702. What does it mean to read Faust and to understand it? In the preface to his collection of short essays dealing with Goethe's masterpiece, the philosopher Gernot Böhme laments the fact that Gymnasium students no longer study the seminal text and that most Germans are familiar not with Faust but rather with its various adaptations for theater, film, and television. Recalling the late arrival of the play on stage, Böhme maintains that Goethe intended the text for communal reading rather than theatrical performance and notes that staging part 2 in its entirety has long challenged directors [End Page 417] and audiences alike. While students may not learn the classics like they used to and reading literature aloud has been superseded by other social activities, two aspects of Faust are timeless. Part 2 is long and complex, and Faust remains an exceptional piece of world literature, as Böhme rightfully argues. Böhme's study may be short at less than seventy pages, yet it does not shy away from the grand scope of parts 1 and 2. In fact, he contends that the scholar's tragedy, which he describes as "die Tragödie des Wissens oder besser des Wissenwollens," connects both parts (8). In close readings he analyzes Faust and Margarete/Gretchen, explores the pact with the devil, investigates the role of the four elements, and reflects on Faust and familiar sayings. The author balances detailed textual analyses with larger topics such as alchemy, nature, science, and technology. Throughout the study he presents Faust in a broad philosophical light, for instance, when he writes: "die Tragödie des Faust [ist] nicht nur die Tragödie des immer Strebenden und Wissenwollenden, sondern des Menschen überhaupt" (10). By approaching Faust through different philosophical lenses, Böhme attempts to make Goethe's human tragedy accessible to a larger audience. In the first chapter, he argues that the desire for knowledge is central and extends throughout both parts of the text. Faust's "Wissensgewinnung beginnt nun bereits mit der Gretchengeschichte, sie führt dann Faust durch die große Welt, das heißt die Welt der Gesellschaft, der Politik, der Ökonomie und sie endet schließlich im technischen Großprojekt der Naturbeherrschung" (14). The author follows Faust through different scientific eras, from the ancient to the modern, and concludes that the failure of his ambitious project at the end of part 2 reflects not only the goals, but also the limitations of Francis Bacon's vision of science and technology. In the second chapter, he turns to the Margarete/Gretchen figure and argues that we should read her tragedy "als die Geschichte leiblicher Erfahrung von Gefühlen" (25). Böhme argues against viewing her simply as a naïve girl. Rather, he interprets her as a young woman with life experiences and a developed sense of self. He focuses on "die Anmutungen, die Margarete aus Physiognomien und Atmosphären erfährt" on the one hand, and "die Dynamik ihrer Befindlichkeiten," on the other (26). Böhme concludes that Margarete is a tragic figure displaying complex inner turmoil throughout the text. Chapter 4 bridges the gap between parts 1 and 2. Here the author revisits Faust's pact with Mephisto through the figure of Helena, who represents "das Glück der Erfüllung als reine Präsenzerfahrung" (43). "Ihr Glück," he continues, "ist das Glück, da zu sein" (43). Faust, in contrast, does not experience "das konkrete Dasein, das für Helena so entscheidend ist, sondern eher die Lücke im Dasein, der Ausstieg" (44). If this sounds metaphysical, it is. And for those interested in following Böhme's philosophical leads, there are plenty of references to his own works dealing with a broad spectrum of philosophical topics as well as Faust. Chapter 4 closes with a reflection on "das philosophische Verständnis des Augenblicks," which references [End Page 418] Parmenides, Aristotle, Descartes, Bergson, Heidegger, and Derrida (45). The centrality of the Augenblick in both Faust's pact...

Two rebelling approaches but only one embraced by policy

PurposeThe purpose of this paper is twofold, first, to shed light on the different patterns in which international marketing and purchasing (IMP) and national innovation system (NIS) were embedded into the Swedish policy context, where the first approach must be regarded as a relative failure and the second a success, second, to compare their analytical lenses and policy implications through the study of a number of seminal texts of the two approaches.Design/methodology/approachFirst, a Swedish case is selected since it provides an example of a policy context where both approaches have been considered and used as sources of inspiration for the design of policy measures. Second, the authors study a selection of the seminal texts of the two approaches in order to identify their basic theoretical assumptions. The emphasis here lies on how the schools view the importance of relations between companies, how they perceive the innovation process, their attitude towards the neoclassical market model and the explicit and implicit implications of their theoretical assumptions for policy.FindingsIMP and its notion of the heterogeneity of resources can provide a much more context grounded analysis than is possible within the NIS/Lundvall framework. However, it requires deep contextual knowledge of individual companies, industries and national and international settings to understand the value of these resources. IMP is “tied to the ground” and radically critical of the atomistic abstractions characterising the neoclassical market view. NIS, on the other hand, requires contextual knowledge on a more superficial level and can co-exist with neoclassical economics.Research limitations/implicationsWhile the authors mainly focus on IMP and NIS, which date back to the 1980s, a later wave of concepts from the 1990s and onwards involve clusters (Porter, 1990), and triple helix (Etzkowitz and Leidesdorff, 1998). However, these latecomers share with NIS the ability to co-exist with neoclassical economics.Practical implicationsIMP requires high demands on any policy maker that would adopt it, in terms of acquiring deep contextual knowledge and giving up established views on how the economy worksOriginality/valueThe paper reveal that while both IMP and NIS like to present themselves as rebels radically departing from neoclassical economics and the linear model, NIS can still co-exist with neoclassical economics. Furthermore, IMP places high demands on any policy maker that would adopt it, in terms of acquiring deep contextual knowledge and giving up established views on how the economy works. NIS, on the other hand, requires contextual knowledge on a more superficial level.

Prospects for a Sapiential Theology: Bonaventure on Theological Wisdom

Prospects for a Sapiential Theology:Bonaventure on Theological Wisdom Gregory F. LaNave Is theology a science, or a wisdom? Theologians formed in any Scholastic tradition readily recognize the vital importance of understanding that theology is a science. The topic received such attention well into the twentieth century that it provoked something of a reaction, with theologians insisting that there were other things to be said about theology as well.1 Such a dynamic was anticipated by the thirteenth-century university masters. Alexander of Hales, for example, begins his Summa of theology by asking "whether the doctrine of theology is scientia." He concludes that, whatever one may say about the scientific aspects of this doctrina, it is far more appropriately called "wisdom," sapientia. Is theology, then, a science, or a wisdom?2 The two need not be [End Page 1037] opposed. But if the desire—whether it originates among the thirteenth-century masters or twenty-first-century theologians—to describe theology in terms of wisdom is to bear fruit, one will have to have a precise understanding of what wisdom is. The purpose of this article is to enter into the subject by laying out the thought of one extraordinary exemplar of sapiential theology, St. Bonaventure. It is notable that he is committed to the scientific character of theology. He is perhaps the first theologian to appeal to the Aristotelian notion of subalternation to validate a true science of theology.3 It is equally obvious, though, that his vision of the theologian's activity does not end in a purely intellectual mastery of the things of faith. To give just one example, at the end of the Itinerarium mentis in Deum, having gone through an extraordinarily dense argument about the variety of ways in which the Christian mind may be raised to God, Bonaventure states that the completion of this journey lies in a transitus, a passing over in which the mind is utterly quieted and intellection gives way to the ardor of love.4 We will not understand his theology if we try [End Page 1038] to deny or minimize its scientific character, but the perfection of theology lies not in a purely scientific project. An adequate account of Bonaventure's understanding of theology in light of wisdom must contain four elements. First is the simple identification of theology as wisdom, which I will accomplish with reference to seminal texts on the nature of theology. Second is a more refined identification of theological wisdom in light of Bonaventure's whole doctrine of wisdom. This will require appeal to two famous texts in which he speaks of four types of wisdom and the isolation of that type that is most strictly speaking theological. Third is the incorporation of this wisdom into the ordinary working of theology: the relationship between the wisdom of theology and the science of theology. Here, our attention will turn to various forms of theological argument, especially the form that Bonaventure calls the argument ex pietate. I will focus on two texts, one that indicates the distinctive quality of this kind of reasoning and a second that gives an example of such reasoning. Fourth is the relationship that theology has to other kinds of knowledge. The question of the "autonomy" of Bonaventure's philosophy was one of the great topics of twentieth-century Bonaventure studies. Yet, without directly engaging that vast literature, it is possible, and helpful, to distinguish between the ways in which theology may be said to have a purely extrinsic relationship to other sciences and the ways in which its relationship is intrinsic. In sum, the prospects for a sapiential theology in Bonaventurean terms should deal with theological wisdom (1) in itself (a combination of the first two points mentioned above), (2) in relation to theological science, and (3) in relation to nontheological knowledge.5 Theology as Wisdom That Bonaventure regards theology as a matter of both science and wisdom is undoubted: [End Page 1039] Sacred Scripture or theology is a science that imparts to us wayfarers as much knowledge of the First Principle as we need to be saved. Now God is not only the principle and effective exemplar of all things in...

L’ecocritica in Italia: ambiente, letteratura, nuovi materialismi. A proposito dei volumi di S. Iovino, Ecocriticism and Italy: Ecology, Resistance, and Liberation (2016) e di N. Turi (a cura di), Ecosistemi letterari (2016)

In the last decade, ecocriticism has emerged and quickly spread as one of the most prominent methods of literary analysis. In this review article, a brief history of ecocriticism and the Environmental Humanities is presented. Specifically, the article introduces the reader to the seminal and fundamental texts that constitute an essential ecocritical reading list. In addition, it presents the most important currents of the discipline and the state of Italian ecocriticism. In the second part, two recent volumes (Iovino 2016 and Turi 2016) are reviewed.

Historical geographies of apprenticeship: rethinking and retracing craft conveyance over time and place

Geographers are demonstrating increasing interest in the power and significance of craft and artisanal practices. However, within this scholarship very little attention has been paid to theorising or tracing the conveyance of craft practices over time and place. This paper seeks to address this deficit by demonstrating how craft conveyance has been achieved through historical geographies of apprenticeship. To do so the paper firstly reviews how the figure of the apprentice and the forms and geographies apprenticeship have been recently reconfigured. Secondly, and by drawing on the work of anthropologists and geographers, it argues that the model of learning between master and apprentice is more dynamic, relational and context-dependant than that espoused in Richard Sennett's seminal text on craftsmanship. Moreover, while geographers have begun to think through how craft practices become sedimented in place over successive generations, the main contribution of this paper is to think and work through how craft practices travel from place to place over successive generations. Specifically this is to examine how the corporeal and material practices of a workshop gain not just temporal duration but also spatial extension. This will be achieved empirically by retracing how the ‘Wardian-style’ of taxidermy practice travelled from London to Glasgow through the movements of Wardian apprentice Charles Kirk. Following non-representational theorisations of practice, and what I shall term the ‘journeyings’ of Kirk, the paper demonstrates that rather than passively absorbing the ‘secrets’ of a workshop the apprentice actively co- and re-produces its corporeal and material practices and carries them forward where they are actively reworked into and by new communities and ecologies of practice. The paper concludes by emphasising the relevance and resonance of apprenticeship for rethinking and retracing craft conveyance.

Have We Forgotten Auditory Sensory Memory? Retention Intervals in Studies of Nonverbal Auditory Working Memory.

Researchers have shown increased interest in mechanisms of working memory for nonverbal sounds such as music and environmental sounds. These studies often have used two-stimulus comparison tasks: two sounds separated by a brief retention interval (often 3–5 s) are compared, and a “same” or “different” judgment is recorded. Researchers seem to have assumed that sensory memory has a negligible impact on performance in auditory two-stimulus comparison tasks. This assumption is examined in detail in this comment. According to seminal texts and recent research reports, sensory memory persists in parallel with working memory for a period of time following hearing a stimulus and can influence behavioral responses on memory tasks. Unlike verbal working memory studies that use serial recall tasks, research paradigms for exploring nonverbal working memory—especially two-stimulus comparison tasks—may not be differentiating working memory from sensory memory processes in analyses of behavioral responses, because retention interval durations have not excluded the possibility that the sensory memory trace drives task performance. This conflation of different constructs may be one contributor to discrepant research findings and the resulting proliferation of theoretical conjectures regarding mechanisms of working memory for nonverbal sounds.

Methodological Considerations on the Experience of Undertaking Doctoral Research in the Agricultural Sector in Cuba During the Special Period (1998–2000)

This article describes the methodological challenges encountered in attempting to undertake research into the agricultural sector in Cuba, and the often serendipitous ways in which these challenges may be overcome. The struggles of numerous Cuban researchers who were attempting to continue their work during the resource-poor Special Period are also described. The article examines the views of Cuban colleagues who have informally, and politely, contested interpretations of the ‘snapshot’ of the farming and food systems that the author documented, and discusses their differing perspectives of ‘the real situation’. The author ends with observations about the book that emerged as an adaptation of the doctoral thesis1 and how it has become a seminal text not only for students but also for civil society groups working for change toward more sustainable systems that are less dependent on fossil fuels.

‘Mad Girl’s Love Song’: Reflections on routes into reading, writing and mentoring

Abstract ‘Mad Girl’s Love Song’, the title of the poem by Sylvia Plath, forms the starting point of this reflective account because it captures the interdisciplinarity that characterizes my practice and pedagogy, in terms of writing and collaborative working. This article draws on various creative writing methods in response to work by, and projects undertaken with, a range of writers, journalists, musicians and artists. Beginning by re-examining Dorothea Brande’s seminal text The Habit of Writing (1981) as a means of identifying the tensions writers often experience between their ‘creative’ and ‘critical’ selves, the article concludes that cross-disciplinary working may offer a way of expanding on Brande’s notion of these binary selves in favour of a creative/critical/collaborative self.

Fitzgerald and Hemingway on Film: A Critical Study of the Adaptations, 1924–2013

Fitzgerald and Hemingway on Film: A Critical Study of the Adaptations, 1924–2013