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EDITOR's Words: On Constructive-Engagement Character of Comparative Studies of Chinese Philosophy toward World Philosophy�In View of ISCWP�s Two-Decade Development

EDITOR's Words: On Constructive-Engagement Character of Comparative Studies of Chinese Philosophy toward World Philosophy�In View of ISCWP�s Two-Decade Development

EDITOR's Words

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The Dolphin: Two Versions, 1972–1973 by Robert Lowell, and: The Dolphin Letters, 1970–1979: Elizabeth Hardwick, Robert Lowell, and Their Circle ed. by Saskia Hamilton

Reviewed by: The Dolphin: Two Versions, 1972–1973 by Robert Lowell, and: The Dolphin Letters, 1970–1979: Elizabeth Hardwick, Robert Lowell, and Their Circle ed. by Saskia Hamilton William H. Pritchard (bio) The Dolphin: Two Versions, 1972–1973, by Robert Lowell (Farrar, Straus and Giroux, 2019), 224 pp. The Dolphin Letters, 1970–1979: Elizabeth Hardwick, Robert Lowell, and Their Circle, edited by Saskia Hamilton (Farrar, Straus and Giroux, 2019), 560 pp. Robert Lowell left his wife, Elizabeth Hardwick, in the spring of 1973 for Caroline Blackwood, whom he would marry and with whom he would have a child. Until Lowell's sudden death by a heart attack in 1977, when he was on the point of returning to Hardwick, their correspondence never lessened, and even as one of her letters would begin "Dearest Cal" it might also include the most forthright of adverse judgments on his behavior. As is well-known, Lowell made use of her letters to him in the last two books of unrhymed sonnets, For Lizzie and Harriet and The Dolphin, which he published in 1973; what has not been generally known until this collection is that the hundred or so letters she wrote to him during these years of separation only "surfaced" (the editor's word for it) decades after both Lowell and Hardwick were dead. What happened to them was that Blackwood, some years after Lowell's death, put the items in a large envelope and mailed them for safekeeping to Lowell's good friend and editor, the poet Frank Bidart ("The flagrant Frank Bidart" Hardwick calls him). Why they didn't eventually wind up in Hardwick's hands is not at all clear. Now, 15 years after Hardwick's death in 2004, they have been most fully and patiently edited by Saskia Hamilton, who previously edited a large collection of Lowell's letters. "Edited" is perhaps an understatement for the fullness of annotation—including many parts of relevant letters to and from both Lowells by friends—that shed light on Lowell and Hardwick's situation over this crucial eight-year period. We will not need further epistolary accounts of these painful and productive years in their careers. In her introduction to Lowell's collected letters in 2005, Hamilton speaks of how rich they were in the periods when Lowell was well—when his illness was abated by lithium: "full of affection and candor, funny, [End Page 464] gregarious, hungry for fathers, hungry for conversation about writing." These qualities can perhaps be seen most brilliantly in his correspondence with Elizabeth Bishop, with whom he maintained the most vibrant of exchanges. Unfortunately his letters to Hardwick in the collection at hand do not on the whole show comparable life, which is not surprising, since his hunger for "fathers" and conversation had been largely gratified. In its place we have the guilty but unbowed lover of Caroline Blackwood, even as he wrote to the "Dearest Lizzie" and their daughter Harriet, both of whom he was abandoning. As he prepared for his fall term's teaching at the University of Essex, the following sentences from letters to Hardwick in September and October of 1970 express his plight: "I too can't state my feelings even to myself. The past is almost more with me than today. I look on it with all pride and joy, but it is piercing to look back, especially when I have no reproaches." (Are the reproaches from others? From himself?) "Unease and distance and severance" are on his mind, he writes, as he has been reading Emerson's poems: I don't think I can go back to you. Thought does no good. I cannot weigh the dear, troubled past, so many illnesses, which weren't due to you, in which you save everything our wondering, changing growing years with Harriet … I can't compare this memory with the future, unseen and beyond recollection with Caroline. I love her very much but I can't see that. … I don't think I can come back to you, but allow me this short space before I arrive in New York to wobble in my mind. I will be turning from the longest realest and...

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Stella Gonzalez-Amal, Gill Jagger, Kathleen Lennon, Embodied Selves.

Stella Gonzalez-Amal, Gill Jagger, and Kathleen Lennon, Embodied Selves. New York: Palgrave MacMillan, 2012, 272 pp., $90.00 hardcover (9781137283702) Stella Gonzalez-Arnal, Gill Jagger, and Kathleen Lennon frame their edited anthology, Embodied Selves, both with and against variegated backdrop of scholarly literature concerned with question of body. Vis-a-vis longstanding tensions in humanities and social sciences that pit discursive understandings of body--the body as a marker of social identity, for example, or as a site of power relations and disciplinary practices--against ones--that focus, for example, on biological or organic properties of body--this text is refreshingly committed to theorizing body as a kind of discursive corporeality, a thorough and complete entanglement of matter and meaning (p. 3). Avowedly drawing on theoretical insights from new materialist turn within social and political theory, collection attends explicitly to properties of body and to its corporeal practices; according to editors, text seeks to that matter--the --is accorded an active and that ... weightiness of body's materiality is felt (p. 3). The editors are quick to caution, however, that turn toward ought not (and indeed, I would argue, cannot) be accomplished by turning away from discursive. our view they note, the insights of [new materialist] theoretical turn need to be tempered to ensure that neither nor discursive should be privileged (p. 2). The body always and only appears in midst of a sociocultural milieu that mediates and shapes ways in which it can be lived, understood, and felt. In thirteen essays that comprise this interdisciplinary collection, body appears in a variety of ways, as that which is, at once, decidedly discursive--power and oppression, marginality and resistance--and inescapably material--flesh and bone, mind and senses, pleasure and pain, life and death. A central promise of text and one that is, I think, its most valuable and distinctive contribution, lies in its attempt at depicting indeterminacy of fleshly, body; body that is always corporeally and contextually specific yet can never be reduced to a static or singular nature. The volume is divided into four sections, each drawing on a breadth of topics, questions, and methodologies. Notions of affect, agency, identity, performance, autonomy, intersubjectivity, and interdependency are raised as matters of interest. While four sections serve purpose of curating particular conversations between authors/essays, such partitions are, in words of editors, artificial as many of essays share multiple, overlapping themes. In first section, Biology and Sexed Difference, essays by Linda Martin Alcoff, Kathleen Lennon, and Stella Sandford discuss possible role of biology in anchoring categories of body, each with a notable focus on biological forms of and their relation to division of sexes. Read together, chapters comprising this section exemplify pull of an objectivist account of body as well as limits of such an account. Articulating some of central themes from her 2008 book, Visible Identities, Alcoff argues that one's relationship of possibility to biological reproduction determines material infrastructure of sexual difference (pp. 19, 17). Perhaps more interesting, however, is Lennon's critique of Alcoff in Chapter Two. Echoing Alcoff, Lennon concedes that body's relation to biological has important and even profound effects on who we are and how we can (are permitted to) move through world. And, like Alcoff, Lennon also acknowledges that there are a great many ways of relating to (through use of technology, for example). …

The Failure of Macroeconomics in America

China & World EconomyVolume 19, Issue 5 p. 17-30 Free Access The Failure of Macroeconomics in America Joseph Stiglitz, Joseph Stiglitz Professor of Economics, Columbia University, New York. Email: jes322@Columbia.edu.Search for more papers by this author Joseph Stiglitz, Joseph Stiglitz Professor of Economics, Columbia University, New York. Email: jes322@Columbia.edu.Search for more papers by this author First published: 05 October 2011 https://doi.org/10.1111/j.1749-124X.2011.01256.xCitations: 8 Editor's Words: On 18 March 2011, the China Association for World Economics hosted “The Presentation of the 2010 Pushan Award for Excellent Papers on International Economics” at the China Central University of Finance and Economics. Over 700 scholars and students from home and abroad attended the ceremony. Professor Joseph Stiglitz, the winner of the Nobel Prize in Economics, presented the awards and gave a speech on “The Failure of Economics in America.“ The following speech transcript has been approved and edited kindly by Professor Stiglitz. The editor thanks Eamon Kircher-Allen for assistance. AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume19, Issue5September‐October 2011Pages 17-30 RelatedInformation

Human Capital over the Life Cycle: A European Perspective

This book makes a novel contribution to economics of education several key respects. It highlights a broad number of crucial factors over the individual's life cycle that underlie inequalities education and the labour market... It is amazing how limited our knowledge is about these interactions despite their high priority national as well as EU-level policy-making. This is a timely book concerned with topics of high policy relevance. Moreover, the authors have well succeeded their attempt to write in a style that makes this work accessible to a wider audience, using the editor's words. It is most important that academics as well as politicians are made aware of the considerable knowledge gaps that still prevail our understanding of the role of education and training for the individual's success or failure school and working life.

The Cambridge Companion to Verdi (review)

Cambridge Companion to Verdi. Edited by Scott L. Balthazar. (Cambridge Companions to Music.) New York: Cambridge University Press, 2004. [xxvi, 336 p. ISBN 0521635357. $25.99.] Music examples, index, bibliography. Within the prefaces to the volumes of the ever-increasing Cambridge Companions series, it has become commonplace to assert, in the words of the editor of Cambridge Companion to Verdi, that these books are aimed primarily at and opera who already have background in music history and but have not proceeded to specialized level while simultaneously offering new ideas and information that interest scholars already working in the field (p. xiii). Thus each member of the Cambridge Companion fleet attempts to carefully navigate the potentially treacherous passage between the Scylla of overly specialized studies and the Charybdis of the fare intended for general readership readily available elsewhere. obvious question upon the embarkation of each new vessel is: how well does it stay the course? However, more pressing question might be: who are these students and opera lovers with broad background in music history and theory that are not already to some degree on specialized level? It may be the case that the intended reader of these volumes simply does not exist. At its best (the companion to grand opera comes to mind), the series accomplishes the seemingly impossible by bringing together thoroughly readable and intriguing set of essays that do not estrange the novice while holding the attention of the scholar. Sadly, such feats of accomplishment are rare. As is so often the case with the Cambridge Companion series, the volume on Verdi contains hits and misses along with handful of essays that are somehow simultaneously both. book comprises four parts: 1) Personal, cultural, and political context; 2) The style of and non-operatic works; 3) Representative operas; and 4) Creation and critical reception. While these groupings may strike the reader as largely ad hoc, it is perhaps better to take the monograph at its editor's word and judge it as a series of essays, each investigating different theme across career, that reveal aspects of his style and lines of development (p. xiii). While each chapter is wholly self-contained, reader might profitably compare certain of the essays in order to clarify the goals set forth by the book and the success, relative to each article, in attaining those goals. In particular, I am interested in pursuing what the intended reader (knowledgeable but not specialist) might gain from attending to this collection of essays. Luke Jensen's An introduction to working and Harold Powers's Verdi's Don Carlos: an overview of the operas offer an instructive comparison. Jensen's chapter articulates four periods in production on the basis of his working methods. He tantalizingly suggests that the coincidence of these groups with traditional stylistic groupings is striking and underscores the importance of considering working conditions and methods when providing an overview of [Verdi's] operas (p. 257). This is compelling suggestion albeit not entirely supported by the chapter-perhaps owing to limitations of space. However, Jensen provides solid and readable introduction to process of composition-a welcome examination for student of career. Powers, on the other hand, discusses one aspect of process, revision, with regard to Don Carlos, supplying the reader with detailed list of the differences between the various versions (including differing sections of the libretti) as well as guide to the various recordings of the opera. Whereas Jensen's article is strictly an introduction to working methods that takes process (including revisions) into account, Powers provides an in-depth case study of the revision process with regard to Don Carlos that perhaps supplies too much detail to be of interest to anyone besides specialist or serious devotee. …

Frontiers of Cognitive Therapy

Back to table of contents Previous article Next article Book ReviewFull AccessFrontiers of Cognitive TherapyDavid A. Casey, M.D.David A. CaseySearch for more papers by this author, M.D.Published Online:1 Apr 1998https://doi.org/10.1176/ps.49.4.546AboutSectionsView EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail The recent history of cognitive therapy has been marked by efforts to broaden its applicability to an ever-greater number of clinical applications. This erudite text, edited by Dr. Paul Salkovskis of Oxford University, continues this effort by bringing together many of the foremost researchers and clinicians in the field to describe, in the editor's words, the “present status of cognitive theory and therapy”The theoretical basis of cognitive therapy is expanded and enriched in the first chapter by the current ideas of the seminal thinker in the field, Dr. Aaron Beck. Beck presents the concept of “modes,”which he defines as “structural and operational units of personality that serve to adapt an individual to changing circumstances” Through the use of the concept of modes, he deepens our understanding of how a web of schemas interact in a given individual to lead to the symptoms of psychiatric disorders.In general, the first half of the text deals with the theoretical underpinnings of cognitive therapy as well as attempts to integrate theory with clinical practice. Current knowledge of cognitive processes is linked to advances in the field of memory processing. The biology of suicide and of depressive illness is examined from a cognitive viewpoint.The remainder of Frontiers of Cognitive Therapy deals with the application of cognitive advances to a variety of clinical problems, including personality disorders, depression, anxiety disorders, eating disorders, sexual dysfunction, and substance use disorders. A great array of approaches are examined, including the use of schemas as the focal point of therapy and the role of empathy in cognitive work. Modifications of the cognitive approach for short-term work with inpatients are also discussed. The longstanding critique of cognitive therapy as simply a list of techniques is put to rest here. The contributors emphasize individual case conceptualization and treatment planning and make linkages between clinical application, theory, and empirical research. Dr. Salkovskis is to be commended for maintaining a unifying style throughout the work. Chapters are chock full of information and are extensively referenced, making the book a full-course meal of cognitive therapy to be savored, rather than an introductory appetizer. The level of material assumes basic familiarity with cognitive therapy, and the intended audience would appear to be clinicians and researchers with a serious interest in the field.Although wide in scope, the work is not encyclopedic. For instance, as the editor notes, it does not include a review of the use of cognitive therapy with couples or with psychotic patients. However, this is a minor criticism. On the whole, the work achieves its goal of mapping the frontiers of cognitive therapy.Dr. Casey is associate professor in the department of psychiatry and behavioral sciences at the University of Louisville School of Medicine and is affiliated with the Norton Psychiatric Clinic in Louisville, Kentucky.edited by Paul M. Salkovskis, Ph.D.; New York City, Guilford Press, 1996, 554 pages, $45 FiguresReferencesCited byDetailsCited ByNone Volume 49Issue 4 April 1998Pages 546-546 Metrics History Published online 1 April 1998 Published in print 1 April 1998

Roman Theater and Society ed. by William J. Slater

Reviews William J. Slater, ed. Roman Theater and Society. E. Togo Salmon Papers, I. Ann Arbor, University of Michigan Press, 1996. Pp. xiv + 186 + 8 plates. $42.50. In September 1993, McMaster University held its first E. Togo Salmon Conference, a series named for the distinguished historian whose bequest makes it possible and dedicated to topics that require, in the editor's words, "the confrontation of archaeological with literary evidence in constructing ancient history." The first of these Salmon Conferences dealt with theater in the Roman world. This volume presents seven of its papers. A summary first and then some comments. I.E.J. Jory, "The Drama of the Dance: Prolegomena to an Iconography of Imperial Pantomime" (1-27). Ancient pantomime was an entertainment in which a solo dancer in mask and costume performed the story of a myth to the accompaniment of musicians and chorus. Though quite a popular art form, it is now little understood by scholars of antiquity . Jory here reviews the material evidence for what pantomime dancers looked like and how they performed, which is largely a matter of isolating medallions, mosaics, and figurines that represent masks with closed mouths and realistic features and dancers who are dressed in such masks and ankle-length robes. The discussion of these artifacts, which is very well illustrated, then leads to important discussions of the difference between solo and choral dancing in antiquity and the different attitudes toward dance in Greek and Roman societies. 2.W. D. Lebek, "Moneymaking on the Roman Stage" (29^48). Republican theater, as everyone knows but too often forgets, was a commercial venture for performers and impresarios. Lebek reviews the evidence for the most successful such practitioners in the last two centuries B. C. in the city of Rome. He discusses the early comic writers Plautus and Terence, the tragic poets Ennius and (rather later) Varius, and then goes on to consider the famous actors of Cicero's day, Roscius and Aesopus, the success of pantomime and mime, the role of women in Roman theater, and the careers of Laberius and Publilius Syrus. 3.K. M. Coleman, "Ptolemy Philadelphus and the Roman Amphitheater " (49-68). In the winter of 275/74, Ptolemy Philadelphus, the second Macedonian king of Egypt, staged a grand procession in honor of his father and predecessor, Ptolemy Soter, at the second celebration of a festival called the Ptolemaieia. Coleman analyzes four elements of Ptolemy's display which she believes came to be echoed in the spectacles of later Roman amphitheaters. These are the use of mythological motifs and figures, the distribution of gifts to spectators, the development of elaborate and sophisticated technology, and the presentation of wild animals. Ptolemy's display made the Egyptian festival a demonstration of both the wealth and extent of his domain. It was also, however, a largely passive display of exoticism, and Coleman makes the inter589 590Comparative Drama esting point that the Roman tendency in developing these elements was to make them active, since for the Romans "the natural world was a theater that provided a spectacle for humankind." 4.J. C. Edmondson, "Dynamic Arenas: Gladiatorial Presentations in the City of Rome and the Construction of Roman Society during the Early Empire" (69-112). Gladiatorial shows at Rome were originally held as part of funeral celebrations, and though they could attract large crowds they were by nature activities in the private sphere. Only with Augustus did they become entertainments on the public calendar and come under imperial patronage. Edmondson concentrates on the production of these shows at Rome in the period from Augustus through Trajan (i.e., c.30 B.C-A.D. 117), when our sources are the richest. He shows how the arenas themselves were organized to reflect the social hierarchy of their time through seating by social standing and by regional and national groups. Seating privileges could even be used to set forth social and political agendas. 5.Elizabeth R. Gebhard, "The Theater and the City" (113-27). The acoustics and sightlines of ancient theaters made them ideal venues —generally the best in town—for a wide range of civic displays, including festivals, political demonstrations, and religious ceremonies, as well as what...

El arte nuevo de estudiar comedias: Literary Theory and Golden Age Drama (review)

378BCom, Vol. 49, No. 2 (Winter 1997) reputation based on infamy rather than honor, but the students seemed to focus on the long list of adjectives attributed to the women. They found the section "Metáfora, Símbolo, Simetría" interesting ifa bit formalistic. On the question of authorship, they found the discussion useful and satisfying. They thought the bibliography was helpful. In general, they believed the text footnotes enlightening but the sidenote explanations ofparticular words were to them more distracting than effective. Overall, they liked the paperback edition, the print, and the price, especially the price since, they calculated , at that rate all ofthe plays we used in the course would have cost less than four ofthe novels they were reading as part ofanother course. Now to some degree, their "review" was unfair because they were second-year graduate students and had already had some experience with the comedia before entering the class. Moreover, El burlador was the sixth play we read in the course so by then they had had even more experience. Thus their comments on the introduction and the sidenotes need to be contextualized . Also such comments might not have been forthcoming from undergraduates. Unfortunately, I did not teach an undergraduate course where I could have really given the edition a fair trial. There, I believe, the students would have loved the introduction, the footnotes, and the sidenotes , which, probably, they would have wanted even more of. I also found the text to be easy to read, and Parr's disagreements with what other critics had said about certain passages in the play were fun and spirited. In an undergraduate course, I personally do not get into the authorship question — I am more concerned that they can read and understand the dialog, the action, and the meaning —, and in a beginning level graduate course, I touch on the problem only lightly. As a result, I found Parr's discussion of "Autoría" about right (for another view, see Ruano, BCom 45.2,1993). The fact is that this edition does not pretend to be more than what it is, a good, usable, clear, inexpensive classroom text. And it is just that. William R. Blue University ofKansas Simerka, Barbara, editor. El arte nuevo de estudiar comedias: Literary Theory and Golden Age Drama. Lewisburg: Bucknell UP, 1996. Hardcover . 260 pp. $39.50. This collection of studies aims at illustrating the application to the come- Reviews379 dia of various modern theoretical/critical approaches, as well as making (in the editor's words) "a defense ofthe usefulness ofliterary theory in general ... for enriching the study ofthe comedia" (7). Although the essays included illustrate a number oftheories and methods, those grounded in poststructuralist theory and cultural studies predominate. Part of this volume's value to students of the comedia is the fact that nearly all contributors provide full and careful explanations of the theories employed, so that, among other things, this arte nuevo constitutes a useful digest ofa variety ofmodern literary theories. Those represented are deconstruction (Grace M. Burton's "Deconstruction and the Comedia: The Case for Peribáñez)" and Charles Oriel's "The Play of Presence and Absence: Writing and Supplementarity in the Comedias de privanza"); speech act theory (Catherine Larson's "The Visible and the Hidden: Speech Act Theory and Cervantes's El retablo de las maravillas"); semiotics (Edward H. Friedman's "Theater Semiotics and Lope de Vega's El caballero de Olmedo "); reader response (Susan L. Fischer's "Reader Response, Iser, and La estrella de Sevilla"); and Lacanian theory (Henry W. Sullivan's "Jacques Lacan and the Golden Age Drama"). In the section entitled "Cultural Studies and the Comedia" appear Teresa S. Soufas's "A Feminist Approach to a Golden Age Dramaturga's Play" (on Ana Caro's Valor, agravio y mujer); James T. Abraham's "The Other Speaks: Tirso de Molina's Amazonas en las Indias"; and Christopher B. Weimer's "Desire, Crisis, and Violence in Fuenteovejuna: A Girardian Perspective; Barbara Simerka's "Dramatic and Discursive Genres: La verdad sospechosa as Problem Comedy and Marriage Treatise;" and Dian Fox's "The Literary Use ofHistory: El médico de su honra in Contexts." The volume is rounded out...

Treatments of Psychiatric Disorders

The first edition (Karasu, 1989) of this monumental handbook grew out of seven years' work by the American Psychiatric Association (APA) Task Force on Treatment of Psychiatric Disorders. Evidence from 30 years of increasingly sophisticated epidemiologic, neuroscientific, psychosocial, and clinical studies argued powerfully for such an attempt. There were, however, significant reservations within the profession. Some feared that a treatment manual would oversimplify and that cookbook approaches to notoriously complex sets of human problems deemphasize psychosocial and psychotherapeutic perspectives in favor of neurobiological and pharmacological reductionism. Such approaches further would obscure the individuality of psychiatric patients and downplay the role of clinical judgment. For the most part, the first edition allayed such fears, acknowledging the provisional and still controversial nature of psychiatry's evolving knowledge base. Like its predecessor, the new edition is pluralistic. It does not represent the official policy of the APA, and it offers, in the editor's words,

Management of Common Problems in Obstetrics and Gynecology

Drs Mishell and Brenner are to be congratulated for their efforts in editing Management of Common Problems in Obstetrics and Gynecology . This is an excellent book that should be read by obstetricians and gynecologists whether in practice or in training. There are 116 chapters dealing with all aspects of the practice of obstetrics and gynecology. This volume in its editor's words consists of concise, clinically oriented chapters that provide the clinician with the latest diagnostic and therapeutic methods for the management of the most commonly encountered obstetric and gynecologic disorders. The vast experience garnered at the Women's Hospital, Los Angeles Center/University of Southern California Medical Center, has enabled the 41 contributors (all current or past members of the faculty of the Department of Obstetrics-Gynecology of USC) to present a great deal of information to the reader. This information has been synthesized into easily readable chapters that will enable the reader

Language, Counter-Memory, Practice: Selected Essays and Interviews.

Because of their range, brilliance, and singularity, ideas of philosopher-critic-historian Michel Foucault have gained extraordinary currency throughout Western intellectual community. This book offers a selection of seven of Foucault's most important published essays, translated from French, with an introductory essay and notes by Donald F. Bouchard. Also included are a summary of a course given by Foucault at College de France; transcript of a conversation between Foucault and Gilles Deleuze; and an interview with Foucault that appeared in journal Actuel. Professor Bouchard has divided book into three closely related sections. The four essays in Part One examine language as a perilous limit of what we know and what we are. The essays in second part suggest methodological guidelines to which Foucault subscribes, and they record, in editor's words, the penetration of language of literature into domain of discursive thought. The material in last section is more obviously political than essays. It treats language in use, language attempting to impart knowledge and power. Translated by editor and Sherry Simon into fluent and lucid English, these essays will appeal primarily to students of literature, especially those interested in contemporary continental structuralist criticism. But because of breadth of Foucault's interests, they should also prove valuable to anthropologists, linguists, sociologists, and psychologists.

Phenomenology as Apologetics

Some classics of pre-war British theology appeared in Nisbet's Library of Constructive Theology. The aim of writers in that series was, in the words of editors W. R. Matthews and H. Wheeler Robinson, ‘to lay stress on the value and validity of religious experience and to develop their theology on the basis of the religious consciousness’. Such an empirical approach ensures for the theological product a high content of the kind of material fundamental to modern Phenomenology of Religion; that is, the description and interpretation of experiences, behaviour, and other phenomena of life taken by the religious believer as manifestations of divine reality and activity. A re-reading from a phenomenological point of view, then, can discover new significance in those writings which, though less than a generation old, are all too easily felt to be obsolescent in the light of more recent theological fashions.