Barbara Thayer-Bacon retired in 2021 after an impactful career where she focused on gender equity among other topics in philosophy of education. She completed her PhD in philosophy of education in...

Liz JacksonEducation University of Hong KongNel Noddings is known around the world for her contributions to philosophy and philosophy of education. Her work on caring and relational ethics broke ne...

In this reflection article, we present a new theoretical perspective, which we term integrative neurobiology and cultural context (INCC) theory. Traditionally, social scientists have viewed the human brain as a “black box” of behavior. At the same time, advancements in neuroscience tempt us to perceive behavior as a linear extension of brain processes. We advocate for an alternative research structure that explores the integrative dynamics of cultural context, neuroplasticity, learning, memory, neurotransmitters, and emotions as critical components to explicating the multidimensionality (...) of cross-cultural human behavior. Integrative neurobiology and cultural context (INCC) theory specifically challenges contemporary accounts that map organismal behavior in a linear fashion onto genetic makeup as well as molecular or physicochemical brain processes. This essay addresses a fundamental question: how can we link culture, individual experience, neurobiological processes, and inheritance systems? To achieve this goal, we have developed a new conceptual perspective, which we term cultural neurobiological inheritance systems (CNIS), the foundational concept of integrative neurobiology and cultural context (INCC) theory. The significance of this contribution is that it resolves a critical limitation in current cultural and evolutionary theory. Even though existing models, including gene–culture coevolution, dual inheritance, and niche construction theory, have profoundly illuminated the processes of behavioral transmission and environmental modification, none have specified the neurobiological mechanisms by which these effects become stabilized and transmitted across generations. CNIS is inherited vertically and horizontally, and the strength of transference and fidelity is dependent on the intensity of cultural learning and its simultaneous effects on neuroplasticity, neurotransmitters, and the development of emotional systems. We argue that memory and related neurobiological processes shaped by experience are anchored in discrete, physiological substrates of the human brain. In short, CNIS represents the physical trace of memory in the neural architecture, providing an interface between human experience and the functional neurobiological basis of cognition. Recent empirical research into engram and engram assemblage formation, studies of survivors of the Holocaust and their descendants, and theory of mind research provide direct support for proof of concept for integrative neurobiology and cultural context theory and CNIS. (shrink)

This book offers a close-up look at theological education in the U.S. today. The authors' goal is to understand the way in which institutional culture affects the outcome of the educational process. To that end, they undertake ethnographic studies of two seminaries-one evangelical and one mainline Protestant. These studies, written in a lively journalistic style, make up the first part of the book and offer fascinating portraits of two very different intellectual, religious, and social worlds. The authors go on to (...) analyze these disparate environments, and suggest how in each case corporate culture acts as an agent of educational change. They find two major consequences stemming from the culture of each school. First, each culture gives expression to a normative goal that aims at shaping the way students understand themselves and from issues of ministry practice. Second, each provides a "cultural tool kit" of knowledge, practices, and skills that students use to construct strategies of action for the various problems and issues that will confront them as pastors or in other forms of ministry. In the concluding chapters, the authors explore the implications of their findings for theories of institutional culture and professional socialization and for interpreting the state of religion in America. They identify some of the practical dilemmas that theological and other professional schools currently face, and reflect on how their findings might contribute to their solution. This accessible, thought-provoking study will not only illuminate the structure and process by which culture educates and forms, but also provide invaluable insights into important dynamics of American religious life. (shrink)

Highly portable and accessible MRI technology will allow researchers to conduct field-based MRI research in community settings. Previous guidance for researchers working with fixed MRI does not address the novel ethical, legal, and societal issues (ELSI) of portable MRI (pMRI). Our interdisciplinary Working Group (WG) previously identified 15 core ELSI challenges associated with pMRI research and recommended solutions. In this article, we distill those detailed recommendations into a Portable MRI Research ELSI Checklist that offers practical operational guidance for researchers contemplating (...) using this technology. (shrink)

Applebaum acknowledges the importance of the questions that Jackson raises and also clarifies some claims that Jackson mistakenly attributes to her. Applebaum queries Jackson's identification of ‘unreasonableness’ with ignorance and cautions that a concern for students becoming ‘reasonable’ must not preclude the possible costs to those who must endure the education of the privileged.

In this paper, I continue a conversation initiated by Barbara Applebaum on how to manage irreconcilable difference, harmful language or ‘words that wound’ and various implications of power in the classroom. Referencing emerging works on the nature of speech and silence, classroom power and queer identity, I pose three questions to Applebaum in order to continue thinking through the timely situations with which she grapples. What is the nature of reasonableness is the classroom setting? Must speech reflect power; and (...) silence, oppression? In what ways does the nature of sexual identification further complicate Applebaum's scenario and similar situations many of us face in teaching about diversity in public settings? In exploring these questions, I hope to add to the conversations on speech and power in the classroom as framed by Applebaum, Megan Boler and John Petrovic, among others. (shrink)

Alter (The Matter of Consciousness: From the Knowledge Argument to Russellian Monism, GB: Oxford University Pres, 2023) argues for something surprising: despite being widely rejected by philosophers, including Frank Jackson himself, Jackson’s knowledge argument succeeds. Alter’s defense of Jackson’s argument is not only surprising; it’s also exciting: the knowledge argument, if it’s sound, underscores the power of armchair philosophy, the power of pure thought to arrive at substantial conclusions about the world. In contrast, I aim to make (...) a case for something unsurprising and unexciting: that the knowledge argument does not succeed, or, even less far-reaching, that Alter’s defense of it is not persuasive. Mine is a classic file-drawer thesis, but what it has going for it is that it’s true, or so I think, and hope to illustrate why you should too. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Three Zoras:Barbara Johnson and Black Women WritersHortense J. Spillers (bio)Talking about Zora Neale Hurston is like approaching the Sphinx—so much riddle, so many faces, and all of it occurring on fairly high holy ground since Alice Walker's remarkable discovery a couple of decades ago.1 But Barbara Johnson's criticism cracks the code on Her Majesty and brings the sign vehicle—"Zora Neale Hurston"—to the table of (...) juxtapositions and comparisons. There is the iconic Hurston, whose positioning between the Harlem Renaissance2 and the post-World War II writers gives her a priority of status that marks the woman artist's entry into literary modernism. The latter, in its variety of contexts and alignments, opened the way to certain experimental forms for these writers and might not have been completed as a systematic gesture before the late sixties and early seventies, when this generation of practitioners was free to create antiheroic figures and to probe the limits of representability. In short, with Zora Neale Hurston a window is pried open, a breeze blows through, and by the time of Toni Morrison's Beloved, an opening has become a prospect, a landscape of vistas of possibility. We can think of Hurston, then, as an enabler, who was not particularly encouraged by the literary politics of her age, from first to last; whether by the "maledom" of Harlem Renaissance avenues to reward and achievement, or by the paradigm shift of race politics in the 1950s,3 Hurston seems to have been equipped with the uncanny ability to create a kind of chaos, to behave outside the parameters of fashion, and to create dimensions of the mythical about her as she modeled versions of self.In her role as classically trained anthropologist and folklorist, Hurston is considered today one of the major theoreticians of black culture.4 Her collections of lore, a [End Page 94] motherlode of a southern-centered orality,5 of the countryside, are fruitfully poised against the displaced metaphysical traditions of discourse that we especially associate with figures like Alain Locke and W. E. B. DuBois.6 As it now appears, the oppositional currents that run between the Hurstonian and the DuBoisian figurations have yet to be reconciled: the latter is text-based, and the former exceeds the abiding centrality of the word. Barbara Johnson argues in A World of Difference that Hurston "tried to explain the difference between a reified 'art' and a living culture in which distinctions between spectator and spectacle, rehearsal and performance, experience and representation are not fixed" [159]. For Hurston, folklore was "'the arts of the people before they find out that there is such a thing as art.'" For Hurston, unlike DuBois, for example, black culture was not a project in the modality of Bildung, or the Hegelian notion, but, rather, a repertoire of gestures that might be said to belong to a second skin—the kinetic thing that is done or said.From our current perspective, what Hurston called "folklore" and what offered the occasion for the ethnographic foray might be given other names, though renaming these acts and gestures of the everyday does not make it any easier to reconcile the conceptual split in black culture theory between textuality and orality, or between "urban" and "countryside." But all of these locutions have been essentially eviscerated by radical changes in the availability and transmission of consumer goods that have rendered US local and indigenous cultures virtually indistinguishable from Jackson, Mississippi to Boston, Massachusetts. Take any interstate network across the land, east to west, or north to south: between McDonald's and the food/gas mart, scattered along ten- to twenty-mile sequences of roadway, one is quite astonished at the sameness and homogeneity of motifs that have translated particularity into an item of commerce and exchange. At one time, the critics were calling this outcome the postmodern flow, but my own hunch is that this apparent repetition and replication of the same are riddled with a variety of timbres and accents, still, that the Hurston ear was so sharp to articulate and define six decades ago. And in that intricate choreography between the life... (shrink)

In this article, we examine the role played by heterogeneity in the popular “connections model” of Jackson and Wolinsky (J Econ Theory 71(1):355–365, 1996). We prove that when heterogeneity with respect to the values of resources, or the information decay parameter, depends on the identity of the player who forms the link, and the player who receives the link, all networks can be supported as Nash. Moreover, we show that Nash networks may not always exist. Interestingly, in (...) the absence of decay, neither result occurs in a model with value heterogeneity. Finally, we show that when reducing heterogeneity, all networks cannot be supported as Nash, and the non-existence problem also disappears. (shrink)

There are at least four ways in which cinema engages with mathematics: by representing (some aspects of) the life of a real mathematician; by representing (some aspects of) the life of a fictional mathematician; by offering some features of a person, among which their abilities for mathematics would stand out; or by showing how a character uses mathematics as we all use it in our daily lives without further pretensions. In this chapter, we deal with the first way by focusing (...) on a selection of movies that have represented the life of Srinivasa Ramanujan Aiyangar (1887–1920), Alan Mathison Turing (1912–1954), Stanisław Marcin Ulam (1909–1984), John Forbes Nash Jr. (1928–2015), and the case of three of the African American female mathematicians who served in NASA as the brilliant minds behind the scenes and paved the way for the US space program: Dorothy Vaughan (1910–2008), Katherine Johnson (1918–2020), and Mary Jackson (1921–2005). We analyze and interpret the way in which cinematographic fiction recontextualizes the lives of these scientists and their mathematical thinking, and we offer an appreciation of the cultural connections between cinema and mathematics. But we begin by making a brief assessment of the meaning of mathematics and the importance of its applications in relation to these mathematicians and, at the end of the chapter, we draw some conclusions. (shrink)

This chapter by Jackson provides his reply to his famous knowledge argument against physicalism by using Armstrong-influenced discussions of colour and of perception, arguing that Armstrong’s treatment of perception in terms of the acquisition of belief is along the right lines but needs to be modified. One should think of perceptual experiences as putative responses to the world that by their very nature urge a view about how the world is. Experiences as of an object’s surface being a certain (...) colour are, accordingly, states that urge that the object’s surface is a certain way, and an object will have that colour just if its surface is the way in question. The way itself is understood as a location in a certain kind of similarity matrix. The chapter explains Jackson’s view and discusses why he dissents from Armstrong’s well-known version of physical realism about colour, which holds that colours are physical properties of, or are physical properties closely associated with, objects’ surfaces (in the case of surface colour), reflectance profiles as it might be. (shrink)

Intended for introductory classes focusing on philosophy of mind, 'Theories of Mind' includes readings from primary sources, edited to suit the needs of the beginner. Selections focus on vivid examples and counterexamples, and give instructors concerned with assigning accessible primary source material a foundation for more advanced studies in philosophy. Selections from David Armstrong, Ned Block, David Chalmers, Patricia Churchland, Paul Churchland, Andy Clark, Daniel C. Dennett, René Descartes, Jerry A. Fodor, Keith Gunderson, Frank Jackson, David Lewis, Barbara (...) Montero, Thomas Nagel, Gilbert Ryle, John Searle, J. J. C. Smart, and Alan M. Turing are included. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Frank Jackson champions the cause of conceptual analysis as central to philosophical inquiry. In recent years conceptual analysis has been undervalued and widely misunderstood, suggests Jackson. He argues that such analysis is mistakenly clouded in mystery, preventing a whole range of important questions from being productively addressed. He anchors his argument in discussions of specific philosophical issues, starting with the metaphysical doctrine of physicalism and moving on, via free will, meaning, personal identity, motion, and change, to ethics and (...) the philosophy of color. In this way the book not only offers a methodological program for philosophy, but also casts new light on some much-debated problems and their interrelations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 3. © 2018 by Feminist Studies, Inc. 699 Jennifer C. Nash The Political Life of Black Motherhood In 1976, Adrienne Rich wrote, “We know more about the air we breathe, the seas we travel, than about the nature and meaning of motherhood.”1 In the four decades since the publication of Rich’s now-canonical Of Woman Born, Andrea O’Reilly has argued for the advent of “maternal (...) theory” as an academic discipline, the maternal memoir has become a highly popular (and profitable) literary genre, and there has been sustained attention to maternal activism with scholarly analyses of such organizations as Mothers Against Drunk Driving and Mothers of the Movement.2 If Mamie Till Bradley boldly “let the world see” her son’s mutilated body in a 1955 public plea to make visible black suffering and antiblack violence, Valerie Castile’s statement after a jury found a police officer not guilty in the death of her son continued in the tradition of 1. Adrienne Rich, Of Woman Born: Motherhood as Experience and Institution (New York: W. W. Norton, 1995), 11. 2. See Andrea O’Reilly, ed., Maternal Theory: A Reader (New York: Demeter Press, 2007); Ann Hulbert, “The Real Myth of Motherhood,” Slate, March 8, 2005; Jennifer C. Nash and Samantha Pinto, “Strange Intimacies: Reading Black Mothering Memoirs,” Public Culture (forthcoming); Danielle Poe, Maternal Activism: Mothers Confronting Injustice (Albany: SUNY Press, 2016); and Ruth Feldstein, Motherhood in Black and White: Race and Sex in American Liberalism, 1930–1965 (Ithaca, NY: Cornell University Press, 2000). 700 Jennifer C. Nash Books Discussed in This Essay Revolutionary Mothering: Love on the Front Lines. Edited by Alexis Pauline Gumbs, China Martens, and Mai’a Williams. Oakland, CA: PM Press, 2016. Laboring Positions: Black Women, Mothering and the Academy. Edited by Sekile Nzinga-Johnson. Bradford, ON: Demeter Press, 2013. How All Politics Became Reproductive Politics: From Welfare Reform to Foreclosure to Trump. By Laura Briggs. Oakland: University of California Press, 2017. Birthing Justice: Black Women, Pregnancy, and Childbirth. Edited by Julia Oparah and Alicia Bonaparte. New York: Routledge, 2016. making black (male) pain visible through grief-stricken black motherhood. Castile said, My son loved this state. He had one tattoo on his body and it was of the twin cities, the state of Minnesota with “TC” on it. My son loved this city, and this city killed my son and the murderer gets away.... We’re not evolving as a civilization, we’re devolving, we have taken steps forward, people have died for us to have these rights and now we’re devolving, we’re going back to 1969.3 Her emotional plea reveals the political currency of black maternal suffering, one of the few spaces in which black pain is readily culturally visible. Indeed, there has been intensified scholarly and popular interest in representing black motherhood as both a site constituted by grief and expected loss and as a political position made visible (only) because of its proximity to death. It is certainly the case that a cultural inattention to motherhood has been replaced by an intense investment in representing at least some aspects of “the nature and meaning of motherhood” and 3. “Philando Castile’s Mother Reacts to Verdict,” Washington Post video on YouTube, posted on June 16, 2017, https://www.youtube.com/watch?v=RJsD4cCpUA. Jennifer C. Nash 701 in representing certain mothers—particularly black mothers—as symbols of trauma and injury, of pain that can be mobilized for “legitimate” political ends and social change. If, as O’Reilly suggests, maternal theory is now a distinct field, it has been fundamentally shaped by the intellectual and political labor of black feminists—Dorothy Roberts, bell hooks, Alice Walker, Patricia Hill Collins, Hortense Spillers, and Audre Lorde—who have captured the myriad ways that black maternity is cast as pathological, excessive, and marked by aberrant performances of gender and heterosexuality that threaten both the nuclear family and the heterosexual state. Drawing on a varied archive from the Moynihan Report to cultural panics about “kids having kids,” from ongoing representations of black women’s “failure” to breastfeed as a public health crisis to the racialized underpinnings of birth control, black feminist theory... (shrink)

This article examines the growing body of commemorative feminist work on intersectionality – the myriad journals and books that have marked intersectionality’s twentieth anniversary and celebrated the analytic’s field-defining status and cross-disciplinary circulation. I argue that this commemorative scholarship is marked by its own genre conventions, including the emergence of originalism, an investment in returning to the ‘inaugural’ intersectional texts – namely Crenshaw’s two articles (1989, 1991) – and assessing later feminist work on intersectionality by its fidelity to those texts. (...) The article reveals that intersectional originalism is its own practice of re-reading and re-interpretation that has its own complex temporal and racial politics, and which is animated by a desire to rescue intersectionality from critique in a moment in which identity politics are increasingly suspect. (shrink)

Dominance feminism and afropessimist theory, despite their critical appearances three decades apart, are undergirded by similar rhetorical strategies, political commitments and argumentative moves. This is the case even as afropessimism’s citational trajectory rarely invokes dominance feminism, and often positions itself as a critique of feminism’s imagined conception of gender as white, one that is thought to be most emphatically announced in the work of scholars like MacKinnon who invest in a gender binary, and in women’s oppressed location in this binary. (...) In this article, I insist on reading dominance feminism and afropessimism together. In so doing, I aspire to challenge afropessimism’s prevailing conception of gender, revealing that while it is often critical of feminist conceptions of gender – particularly conceptualisations of gender that are thought to insist on the shared experiences and positions of women – it actually relies on similar argumentative moves, and even rhetorical seductions, as dominance feminism. (shrink)

The Papers of Andrew Jackson is a project to collect and publish Jackson's entire extant literary record. The project is now producing a series of seventeen volumes that will bring Jackson's most important papers to the public in easily readable form. PDFs of all published volumes through 1833 are now available for free, immediate download via the University of Tennessee's Newfound Press. Also online is the Library of Congress's Andrew Jackson Papers, a digital archive that provides (...) direct access to the manuscript images of many of the Jackson documents transcribed and annotated in our volumes. Rotunda's American History Collection hosts digital versions of all our volumes, with advanced features such as cross-volume and cross-collection searching and links pairing documents with manuscript images on the Library of Congress's Jackson Papers site. (shrink)

This sixth volume of The Papers of Andrew Jackson documents the election on Andrew Jackson, the first westerner and the last veteran of the American Revolution, to the presidency. The four years of this volume chronicle the presidential campaign of 1828. Jackson, winner of the popular vote in 1824 but loser of the election, was once again the reluctant candidate, called into service by the voice of the voters. The campaign, one of the longest in American history, (...) pitted Jackson against the incumbent John Quincy Adams; it was also one of the dirtiest campaigns in American history. The brunt of the mudslinging was aimed at Jackson, and it is covered in detail in this volume. Every aspect of the public and private life of the fifty-eight-year-old former major general in the United States Army came under scrutiny, and in both his opponents found him deficient. According to his detractors, he lacked the moral principles, the temperament, the education, and the family background requisite for a president of the United States. In sum, Jackson resembled the “devil incarnate,” to use his own words. The mudslinging left Jackson livid, anxious for retribution but constrained by the cause in which he was engaged. The presidential campaign of 1828, in the minds of Jackson and his supporters, was for the cause of truth and democracy against corrupt, self-seeking politicians, an aristocracy of power built upon bargains and dubious political alliances dedicated to its perpetuation in office. The four years covered in this volume were some of the most trying in Jackson’s life, but the one event that hurt Jackson the most was the death of his wife. Until his dying day, Jackson contended that her death had been hastened by the slanders of his opponents in the campaign. As great as the loss was for him personally, Jackson nonetheless rejoiced in the results of the election for, in his eyes, the voice of the people had finally been heard. Liberty, not power, had triumphed. Reform was at hand, and retribution would surely follow. Harold D. Moser, former editor of the Correspondence Series, Papers of Daniel Webster, Dartmouth College, is Research Professor in the College of Arts and Sciences and the University of Tennessee, Knoxville. J. Clint Clift is Assistant Editor with the Jackson Papers. Wyatt C. Wells is currently Associate Professor at the University of Alabama at Montgomery. (shrink)

One way to understand Vincent’s argument is as a critique of the way non-epistemic values shape sex/gender-related medicine and healthcare. Vincent reveals how the non-epistemic values embedded within the Incongruence Thesis privilege some transgender people over other transgender people. I build on Vincent’s account to argue that the non-epistemic values embedded in the terminology, categories and framing of the Incongruence Thesis also better serve transgender people in general, rather than other gender diverse people, some of whom are perhaps best understood (...) as neither transgender nor cisgender. I support Vincent’s call for the Incongruence Thesis to be significantly revised. (shrink)

We make a huge variety of claims framed in vocabularies drawn from physics and chemistry, everyday talk, neuroscience, ethics, mathematics, semantics, folk and professional psychology, and so on and so forth. We say, for example, that Jones feels cold, that Carlton might win, that there are quarks, that murder is wrong, that there are four fundamental forces, and that a certain level of neurological activity is necessary for thought. If we follow Huw Price's Carnapian lead, we can put this by (...) saying that we make many claims in many different frameworks. (shrink)

St. Augustine is the bridge that links ancient philosophy and early Christian theology to the thought patterns of the Middle Ages. But the influence of Augustine's philosophy in general and his epistemology in particular extends far beyond medieval philosophy. Such modern philosophers as Descartes and Malebranche carry the stamp of Augustinism upon their philosophies. What is not so well known is that even some of the most original ideas of Berkeley and Kant can be found anticipated in Augustine.

Resistances to sexual and gender rights are shifting and need new theorisations. This article develops the analytical concept of heteroactivism by exploring its relation to abortion debates in Ireland. Heteroactivism as an analytical category examines resistances to sexual and gender rights that seek to reiterate the place of the heteronormative family (both in terms of gender norms and heterosexuality) through activisms that can stand against new legislative orders. The article investigates three texts to explore how the ‘Vote No’ campaign in (...) Ireland discussed ‘loving both’, but in the main thrust of the poster campaign instead focused on the foetus as an ‘unborn child’. Using textual and visual analysis, we show the creation of Ireland through seeking to ‘love both’ and create a distinction from the dangers, and foreign contagion, of England. The article concludes by arguing that ongoing work is needed to explore heteroactivism and its diverse manifestations, including in abortion debates. (shrink)