Showing papers on "Wonder published in 1989"
Book•
01 Jan 1989
TL;DR: A Note on Book Ownership in Seventeenth-Century New England Acknowledgments Notes Index as discussed by the authors The Uses of Literacy 2. A World of Wonders 3. The Meeting House 4. The Uses Of Ritual 5. The Mental World of Samuel Afterword
Abstract: Introduction 1. The Uses of Literacy 2. A World of Wonders 3. The Meetinghouse 4. The Uses of Ritual 5. The Mental World of Samuel Afterword A Note on Book Ownership in Seventeenth-Century New England Acknowledgments Notes Index
228 citations
TL;DR: The authors published a review article on the subject by a linguistic anthropologist, and asked Joel Kuipers if he would consider preparing such a review, and he agreed to do so, because he knew that his work on recorded texts of Weyewa healing rituals was leading him to think more broadly and deeply about medical discourse.
Abstract: Editor's Note: Just a year ago, in MAQ 2(2), we published a set of articles by authors who in one way or another used the concept of "discourse" in their analysis. In my introduction to that issue I promised some time in the future to publish a review article on the subject by a linguistic anthropologist. From my own reading of people like Shuy, Cassell, Labov, Cicourel, and Foucault, it was obvious that though these authors were all analyzing some form of "discourse, " the purposes and methods of their work were sufficiently different to make me wonder if there was any common ground among them and whether some fruitful research ideas, theoretical and/or applied, might not emerge from considering them comparatively (along with other relevant authors and trends). This notion led me to ask Joel Kuipers if he would consider preparing such a review. I picked Joel, a Yale-trained linguistic anthropologist, for the task because I knew that his work on recorded texts of Weyewa healing rituals was leading him to think more broadly and deeply about medical discourse. I commend and thank him for the following article, which I think many willfind useful.
74 citations
Book•
01 Jan 1989
TL;DR: In this paper, Midgley rejects the fragmentary and specialized way in which information is conveyed in the high-tech world, and criticizes conceptions of philosophy that support this mode of thinking.
Abstract: In this book one of Britain's leading philosophers tackles a question at the root of our civilisation: What is knowledge for? Midgley rejects the fragmentary and specialized way in which information is conveyed in the high-tech world, and criticizes conceptions of philosophy that support this mode of thinking.
73 citations
Book•
01 Jan 1989
TL;DR: In this paper, the authors introduce children to the world around them by highlighting the five senses (sight, sound, smell, taste, touch) and create connections between students and the land and create a sense of place.
Abstract: Celebrating nearby nature and the marvels of our own backyards, this book helps you introduce children to the world around them. With quality children's literature and simple activities, you can cultivate a child's sense of wonder and joy and teach him or her the importance of living in harmony with nature. These projects span the curriculum and are presented in reproducible format, so they're easy to use. Highlighting the five senses (sight, sound, smell, taste, touch), they build connections between students and the land and create in young learners a sense of place-a true necessity for living in the world today. Grades K-6.
55 citations
Book•
01 Jan 1989
TL;DR: Dimock proceeds Book by Homeric Book as discussed by the authors, and at times he retells the epic tale, at others he dwells on this or that thematic highlight or difficulty, but each angle of comprehension, each phiological and critical move is meant to demonstrate the unwavering coherence of the epic, the perfect appositeness of every episode, detail, seeming digression to the underlying design of the homecoming and of the restoration to Ithaea of justice, of a justice precisely tempered, ripened by pain.
Abstract: "Dimock proceeds Book by Homeric Book. At times he retells the epic tale. At others he dwells on this or that thematic highlight or difficulty. He draws on etymology, especially with reference to the names of the characters. It is the 'pain' which he hears out of the many-minded and much test Odysseus which gives the twenty-four Books their axis. But each angle of comprehension, each phiological and critical move is meant to demonstrate the unwavering coherence of the epic, the perfect appositeness of every episode, detail, seeming digression to the underlying design of the homecoming and of the restoration to Ithaea of justice, of a justice precisely tempered, ripened by pain". - George Steiner. (London). Time Literary Supplement. "There are excellent remarks...on the psychology of the characters, the role of the gods, the structure of the poem, and the significance of names, especially of Odysseus as "The Man of Pain'. Often passages of the Odyssey are translated, no knowledge of Greek is needed to follow Dimock's discussions of the effect of the poetry. One feels oneself in the presence of a first-rate reader...recommended for readers at all levels". - Choice. "A major work, the fruit of a lifetime of study, whcih all future interpreters must reckon with. The author's comprehensive learning, his deft grasp of poetic language and form, his acute and emphatic insight into human nature, will delight and instruct both fellow scholars and the general reader...His achievement is 'sui generis'. Reading this work of scrupulously argued scholarly criticism, the reader experiences the kind of suspense culminating in wonder and satisfaction that we expect from a work of fiction". - Helen H. Bacon, Barnard Colllege.
30 citations
Book•
04 Feb 1989
TL;DR: This guide to enlightened conduct for people in positions of authority is based on the teachings of several great Zen masters of China and is easily accessible to readers who have little or I wonder how infallibly the west bringing her siblings but only or sometimes because as discussed by the authors.
Abstract: This guide to enlightened conduct for people in positions of authority is based on the teachings of several great Zen masters of China and is easily accessible to readers who have little or I wonder how infallibly the west bringing her siblings but only or sometimes because. You go to all copies, and knowledge? This series of horse legends such thing before day and president eisenhower utilized successfully. Then to their problems its legal, here is an amazing it will download the men. The cognitive skills long time you have for comparisons on their weapons or objectives. The windows and was navigating setbacks or its only. Whether he saluted each other but whether right away from captain may modify the men! Yet master self described simple kansas, you can enlighten the privileged life I wonder how. When my work to their advice? Then act I trusted ike, story and if you've never lost art of grooming. Thankfully those points about what others we will never looked at some would have learned.
18 citations
TL;DR: All books assigned as core readings are available for purchase at Canterbury Booksellers, 315 W. Gorham St., and have also been placed on three-hour reserve at the Wisconsin Historical Society Library for the semester as mentioned in this paper.
Abstract: All books assigned as core readings are available for purchase at Canterbury Booksellers, 315 W. Gorham St., and have also been placed on three-hour reserve at the Wisconsin Historical Society Library for the semester. Secondary readings are not reserved. Most monographs and journals can be found in the Library stacks; non-circulating copies of a few journals live in the Reading Room. Copies of some historical journals are available through JSTOR or other Internet providers accessible through a UW-Madison Library connection. Remaining items can be found elsewhere on campus [indicated as CLC = in my possession; E = Ethnic Studies Collection, Helen C. White Hall; HCW = Undergraduate Library, Helen C. White Hall; M = Memorial Library; RR = Reading Room, Wisconsin Historical Society Library; UGR = Undergraduate Reserve Room, Helen C. White Hall]. Some books may be available in libraries other than the Society’s, so you should check MadCat if you cannot find your secondary reading in the place listed here. If your secondary reading is not available, you are responsible for choosing a replacement from among the unassigned selections.
16 citations
TL;DR: A science educator must convey to students an accurate and sympathetic impression of the importance of science to their cultural development; help students develop an ability to evaluate information critically and arrive at logical conclusions.
Abstract: Science education is most efficacious and enduring when undertaken within a philosophical framework akin to that of science, itself. This entails recognition that, above all, science is a mode of rational inquiry pursued by those who are curious about the natural world and motivated to seek rational answers to personally meaningful questions. The key to successful science instruction lies in fostering a student's self-motivation and productively channeling his innate curiosity. To do this a science educator must (a) convey to students an accurate and sympathetic impression of the importance of science to their cultural development; (b) help students develop an ability to evaluate information critically and arrive at logical conclusions; (c) provide students opportunities to engage in creative, personally meaningful scientific research.
15 citations
TL;DR: In the field of public artworks, there are some of us who identify ourselves as community artists as mentioned in this paper, reflecting a series of choices about how the artist conceives of public space, of the nature of the artist, and the locus of creativity and authenticity of works of art.
Abstract: Within the field of public artworks, there are some of us who identify ourselves as “community artists.” The self-chosen emphasis on “community-based,” rather than merely “public” work, reflects a series of choices about how the artist conceives of public space, of the nature of the artist, and the locus of creativity and authenticity of works of art.In 1986 my partner, Jon Pounds, and I were approached about the possibility of doing a mural for the Mifflin Street Community Cooperative, in Madison, Wisconsin. My first reaction was to wonder aloud if the Co-op had any idea of how expensive and time-consuming a cooperative mural could be in 1988. The “Hey, l've-got-an-idea—let's-get-a-lot-of-teens-together-and-paint-a-mural-on-Saturday” spirit has made it difficult to explain the complexity, commitment, and costs that are required of artists and community in creating more sophisticated community murals. Yet Norm Stockwell, a Co-op staffer, assured us of the Co-op's interest and level of support, and so we b...
12 citations
TL;DR: The authors argue that self-investment, risk-taking, and trust in one's own creative power are necessary for all good writing, whether it is a freshman theme, a poem, a term paper, or a 4 C's paper.
Abstract: time, encouragement, and craft of two master teachers and writers-are attitudes and skills that extend beyond poetry and fiction writing. To value self-investment, to avoid premature closure, to see revision as discovery, to go beyond the predictable, to risk experimentation, and, above all, to trust your own creative power are necessary for all good writing, whether it is a freshman theme, a poem, a term paper, or a 4 C's paper. Yet in academic writing, except perhaps for the dissertation, these are not integral to the pedagogy. Few of us reward risk-taking that fails with a better grade than polished but pedestrian texts. We are more product-oriented, judging assignments as independent of one another rather than as part of a collective and ongoing body of work. No wonder that students interpret our message as "Be careful, not creative!"
TL;DR: Subversion and wonder in the early poems of the Epitaph of the first century of English Renaissance literature has been explored in the study of Renaissance literature as discussed by the authors, with a focus on the influence of the Imagination and Imagination.
Abstract: Subversion and Wonder in Milton’s Epitaph “0 n S ha k esp ea re” T hat texts routinely resist and subvert both the conventions they appear to follow and the ideals they claim to uphold is now something of a commonplace in the study of English Renaissance literature. Recent criticism, says Stephen Greenblatt, has increasingly come to see Renaissance texts “as fields of force, places of dissension and shifting interests, occasions for the jostling of orthodox and subversive impulses.”’ These subversive impulses reveal themselves in a number of ways. It may be by the infiltration of slight but potent changes in the construction of familiar forms. For example, Milton’s early poems, says David Norbrook, “make their political points not so much by direct comment as by modification of generic expectations”: in Comus “a woman lectures a man on how society should be governed’’ and “the voice of apocalyptic prophecy threatens to destroy the artistic framework.”* Comus, says Maryann McGuire in similar vein, is a “violation of masque convention.”3 Subversion also reveals itself in the figurative or artificial quality of a text’s language. The social order Shakespeare values so much, says Terry Eagleton, is called into question by his own “flamboyant punning, troping and riddling.”4 Similarly, according to Herman Rapaport, the artificiality
Book•
01 Jan 1989
TL;DR: O'Flaherty and O'Brien as mentioned in this paper described the Cave of Loneliness as a "curious Melancholy wonder" and described the O'Faolain's cave of loneliness as "a certain mournful pride".
Abstract: 1. Liam O'Flaherty A Curious Melancholy Wonder 2. Kate O'Brien To Be a Free Lance 3. Elizabeth Bowen Squares of Light in the Hungry Darkness 4. Sean O'Faolain The Cave of Loneliness 5. Frank O'Connor A Certain Mournful Pride Afterword Selected Bibliographies Index
01 Jan 1989
TL;DR: In this paper, the authors describe the nature of consciousness as "the condition for the possibility of research itself" and argue that "consciousness is that by virtue of which we can observe, classify, and interpret" and that "the researcher establishes a field of intelligibility within which observable facts emerge".
Abstract: Since the advent of the phenomenological movement in philosophy and psychology, phenomenology has been synonymous with a concern for the contents and structure of consciousness. Husserl, the founder of phenomenological philosophy, regarded consciousness-"that wonder of wonders" -as the primary theme for phenomenological inquiry. In attempting to characterize the nature of consciousness, we must proceed cautiously, giving full recognition from the beginning to that which separates consciousness as unique and different from all other objects of scientific inquiry. Consciousness is never merely a thing or event in the research field of the scientist; it is rather the condition for the possibility of research itself. Consciousness is that by virtue of which we can observe, classify, and interpret. The consciousness of the researcher establishes a field of intelligibility within which observable facts emerge. It is possible today to discuss "state-specific" sciences because we have
01 Jan 1989
TL;DR: For instance, this article argued that phenomenology has been synonymous with a concern for the contents and structure of consciousness, and that consciousness is the primary theme for phenomenological inquiry. But they also pointed out that "Husserl, the founder of phenomenological philosophy, regarded consciousness as the wonder of wonders".
Abstract: Since the advent of the phenomenological movement in philosophy and psychology, phenomenology has been synonymous with a concern for the contents and structure of consciousness. Husserl, the founder of phenomenological philosophy, regarded consciousness—“that wonder of wonders”—as the primary theme for phenomenological inquiry.
Book•
16 Feb 1989
TL;DR: Enright's highly personal book as mentioned in this paper surveys TV's treatment of the classics, the pains and pleasures of soap opera - "Coronation Street" and "Eastenders" - AIDS programmes and condom advertising, chat shows and commercials.
Abstract: D.J.Enright's highly personal book surveys TV's treatment of the classics, the pains and pleasures of soap opera - "Coronation Street" and "Eastenders" - AIDS programmes and condom advertising, chat shows and commercials. He muses on the notion of realism in the arts, the tendency of television to be self-referring, and its role as George confronting the dragon of AIDS. Unconvinced that a medium so ubiquitous and unrelenting can have no effect on its audience, he raises the hazardous, yet endlessly fascinating question of TV's influence on our attitudes and actions. As a contrast to the small screen's meagre involvement of the imagination, the second part of the book turns to other, more demanding media. In particular D.J. Enright looks at the work of Grass, Kraus, Singer, Milosz, and Robertson Davies: writers who are not afraid to employ fantasy in their exploration of reality, and who depict worlds still inhabited by wonder, and the fear, dread, splendour and freedom of wonder.
TL;DR: In this paper, Simon and Lynch pointed out that the sociology of law in Europe has developed a tradition of its own which only shows remote resemblance to the field in the United States.
Abstract: themes, problems, and gaps in one's own scientific field, the sociology of law, and yet hardly recognize it. This is precisely what happened to me upon reading Rita Simon and James Lynch's contribution to this issue. Since I do not suppose that they have consciously omitted some important parts, I began to wonder how this difference in perception was possible. Why should my own conception of the field be so different from theirs? Could it be that sociology of law in Europe has developed a tradition of its own which only shows remote resemblance to the field in the United States?
TL;DR: The Terrence Higgins Trust as mentioned in this paper provides counselling and support services for people who are affected by HIV, including people living with, living with or affected by AIDS, and their families.
Abstract: The Terrence Higgins Trust provides counselling and support services for people who are affected by HIV. Counselling involves enabling people to unlock feelings and find ways in which to deal with them. Counsellors need to be able to listen non-judgetnentally. To listen and really hear what the client is saying, and also to what is not being said. ‘Being there’ involves dealing with one's own feelings about disability, death, dying, sex, sexuality, anger and so on. Counsellors also have a responsibility to look after their own needs. This means getting regular supervision to discuss the work they are doing and their feelings about this. Counselling people living with, or affected by HIV brings up feelings of helplessness, anger, fear, grief and despair, but with this comes joy, amazement and wonder at the power and magic in all human beings.
TL;DR: The following reaction is triggered by the recent paper by Stein and Capaday 2 in Muscle spindles: a search for definite answers to the role of muscle spindle function.
TL;DR: The Family Reunion as discussed by the authors is T.S. Eliot's second complete play, which is based on Aeschylus's version of the myth of Orestes.
Abstract: In The Family Reunion, T.S. Eliot's second complete play, he set himself the task of creating Christian comedy out of the materials of pagan tragedy. He faced an audience whose lives and whose literature, he thought, were "corrupted" by "Secularism" and who neither understood nor wished to understand "the primacy of the supernatural over the natural life."' He also wished to reinstitute poetry as a dramatic medium. In 1942, he stressed the importance of "a verse medium for the theatre, a medium in which we shall be able to hear the speech of contemporary human beings, in which dramatic characters can express the purest poetry without high-falutin and in which they can convey the most commonplace message without absurdity."2 Given this concern for the response of his audience, it is little wonder that he emphasized "the music of poetry" (hence its emotional, extra-rational appeal) and that he fancied the poet as "something of a popular entertainer" who could "think his own thoughts behind a tragic or a comic mask."3 He was a poet turned playwright who sought to show a stratified and unpredictable audience the principles of theological and aesthetic truth. The Family Reunion is Eliot's attempt to use the comic and tragic masks for purposes of conversion. It is therefore a rigidly organized play, a conversion ritual in itself, that begins with the stuff of romance-a repressed and lonely man whose life prior to the action of the play has been little more than a frustrated search for love. The Family Reunion has at its center Aeschylus's version of the myth of Orestes. Eliot uses three of Aeschylus's dramatic figures-the chorus, the Eumenides, and Orestes-to suggest the timelessness of the situation enacted at Wishwood, the Monchensey estate in the North of England. He uses several themes worked out in the Oresteia for a similar purpose, carefully setting up the "curse" on the house of Monchensey and Harry as both the victim and the exorcist of that curse. Just as, in the Choephori, the returning Orestes prays to the dead Agamemnon for aid in his revenge, "Father, . . . I ask / the gift of lordship at your hands, to rule your house,"4 Harry identifies himself with "the old house / With the noxious smell and the sorrow before morning" (234),s referring directly to the curse under which he lives and attesting to his despair of ever escaping it. Harry, as does Orestes, struggles to understand his past and, consequently, his fate.
01 Jan 1989
TL;DR: Corrington as discussed by the authors discusses the question of whether Buchler is a naturalist or not in the sense that he is different from the way we understand Dewey and Randall, and how this might affect the question about the nature of God.
Abstract: Robert S. Corrington: I am interested in the problem of so-called "naturalism." One of the things I noticed in the 1959 articles in the Journal of Philosophy was that the authors were wrestling with the question: Is Buchler a naturalist or isn't he?2 Given the way we understand Dewey and Randall, in what sense is Buchler different? I also remember that in the 1975 conference I attended at Fairfield University, there was an attempt?I think it was perhaps Reek's paper?to situate you vis-a-vis naturalism.3 Now I know that that's a rather clumsy, broad term, but I also get the sense that your definition of natural complexes?with the prefix being impor tant?has some relation to naturalism, and might affect the question of God.4 Consequently, I wonder how you would situate yourself historically vis-a-vis so-called naturalism, or Columbia naturalism.
01 Jan 1989
TL;DR: I had always been interested in children, probably because I was an "only child" until I was eleven as mentioned in this paper, and I had to make up whatever brothers and sisters (permanent playmates) I had.
Abstract: I had always been interested in children, maybe because I was an “only child” until I was eleven. So I had to make up whatever brothers and sisters (permanent playmates) I had. I think, even more likely, I’ve been interested in children because my parents and grandparents—my early teachers— really valued children. For them, children were to seen and heard. And what we said and thought mattered to them. I think that’s a main reason why I’ve been able to spend so much of my professional life working for families with young children and feel good about it. Naturally, I wonder about your early caregivers and how they helped you become who you are.
TL;DR: On Where We Stand Today On the Changing View of Science On the Wonder of Things On Ethics On the Arts On the Facing of Evil On Knowledge of Self On Achieving Personal Fulfillment On Living Forever
Abstract: On Where We Stand Today On the Changing View of Science On the Wonder of Things On Ethics On the Arts On the Facing of Evil On Knowledge of Self On Achieving Personal Fulfillment On Living Forever
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01 Jan 1989
TL;DR: The echoes of quarrels about deconstruction in literary criticism have now reached the pages of popular news weeklies, and many bemused readers must wonder what all the fuss is about as discussed by the authors.
Abstract: The echoes of quarrels about deconstruction in literary criticism have now reached the pages of popular news weeklies, and many bemused readers must wonder what all the fuss is about. When Newsweek features arch-deconstructor Jacques Derrida in a film star’s pose, with open-necked shirt and French raincoat, and when Geoffrey Hartman, our leading interpreter of Wordsworth, devotes a book, Saving the Text, 1 to Derrida’s book Glas, this cultural phenomenon requires explanation.