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Results for 'Mette Geil Kollerup'

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  1.  30
    Ethical dilemmas in nursing documentation.Lone Jørgensen &MetteGeilKollerup -2022 -Nursing Ethics 29 (2):485-497.
    Background: Nursing documentation is an essential aspect of ethical nursing care. Lack of awareness of ethical dilemmas in nursing documentation may increase the risk of patient harm. Considering this, ethical dilemmas within nursing documentation need to be explored. Aim: To explore ethical dilemmas in nurses’ conversations about nursing documentation. Research design, participants and context: The study used a qualitative design. Participants were registered nurses from a Patient Hotel at a Danish University Hospital. Data were collected in three focus groups with (...) a total of 12 participants. Data analysis consisted of qualitative content analysis inspired by Graneheim and Lundman. Ethical consideration: This study was conducted in accordance with the ethical principles of research and regulations in terms of confidentiality, anonymity and provision of informed consent. Findings: Ethical dilemmas were strongly present in nurses’ conversations about nursing documentation. These dilemmas were demonstrated in two themes: (1) a dilemma between respecting patients’ autonomy and not causing harm, which was visible in nurses’ navigation between written documentation and oral tradition, and (2) a dilemma concerning justice and fair distribution of goods, which was visible in nurses’ balancing between documenting deviations and proof of nursing practice. Discussion: Ethical dilemmas in nursing documentation regarding respecting patients’ autonomy and not causing harm accentuated discussions on professional responsibility and patient participation in clinical decisions. Dilemmas in justice and fair distribution of goods emphasised discussions on trust in relationships versus trust in electronic health records. Conclusion: Actual tendencies in the healthcare system may increase ethical dilemmas in nursing documentation. Sharing otherwise invisible and individual experiences of ethical dilemmas in nursing documentation among nurses, nurse leaders and decision-makers will enable addressing these in reflections and discussions as well as in considering adjustments of conditions for nursing documentation. (shrink)
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  2.  104
    Collaborative reasoning: Evidence for collective rationality.David Moshman MollyGeil -1998 -Thinking and Reasoning 4 (3):231 – 248.
    Reasoning may be defined as a deliberate effort to coordinate inferences so as to reach justifiable conclusions. Thus defined, reasoning includes collaborative as well as individual forms of cognitive action. The purpose of the present study was to demonstrate a circumstance in which collaborative reasoning is qualitatively superior to individual reasoning. The selection task, a well known logical hypothesis-testing problem, was presented to 143 college undergraduates-32 individuals and 20 groups of 5 or 6 interacting peers. The correct (falsification) response pattern (...) was selected by only 9% of the individuals but by 75% of the groups. The superior performance of the groups was due to collaborative reasoning rather than to imitation or peer pressure. Groups typically co-constructed a structure of arguments qualitatively more sophisticated than that generated by most individuals. The results support Piagetian and Habermasian views of peer interaction as a locus of rational social processes. (shrink)
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  3.  704
    (1 other version)Corporate social responsibility communication: Stakeholder information, response and involvement strategies.Mette Morsing &Majken Schultz -2006 -Business Ethics, the Environment and Responsibility 15 (4):323–338.
    While it is generally agreed that companies need to manage their relationships with their stakeholders, the way in which they choose to do so varies considerably. In this paper, it is argued that when companies want to communicate with stakeholders about their CSR initiatives, they need to involve those stakeholders in a two-way communication process, defined as an ongoing iterative sense-giving and sense-making process. The paper also argues that companies need to communicate through carefully crafted and increasingly sophisticated processes. Three (...) CSR communication strategies are developed. Based on empirical illustrations and prior research, the authors argue that managers need to move from ‘informing’ and ‘responding’ to ‘involving’ stakeholders in CSR communication itself. They conclude that managers need to expand the role of stakeholders in corporate CSR communication processes if they want to improve their efforts to build legitimacy, a positive reputation and lasting stakeholder relationships. (shrink)
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  4.  177
    Emotion and the Arts.Mette Hjort &Sue Laver (eds.) -1997 - Oup Usa.
    This collection of new essays addresses emotion in relation to the arts. The essays consider such topics as the paradox of fiction, emotion in the pure and abstract arts, and the rationality and ethics of emotional responses to art.
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  5.  95
    (1 other version)Corporate social responsibility as strategic auto-communication: On the role of external stakeholders for member identification.Mette Morsing -2006 -Business Ethics, the Environment and Responsibility 15 (2):171–182.
  6.  9
    Nietzsche som etiker.Mette Blok -2010 - København: Museum Tusculanums forlag, Københavns universitet.
    Med udgangspunkt i værkerne "Schopenhauer als Erzieher" og "Also sprach Zarathustra" tager forfatteren Nietzsches filosofiske status op til overvejelse og søger at rehabilitere ham som etiker.
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  7. Die Gottesidee bei Locke und dessen Gottesbeweis.GeorgGeil -1890 -Archiv für Geschichte der Philosophie 3:579.
     
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  8. Habitus und Politik : Zum Habituskonzept in der Politikwissenschaft.Heiko Geiling -2013 - In Alexander Lenger, Christian Schneickert & Florian Schumacher,Pierre Bourdieus Konzeption des Habitus: Grundlagen, Zugänge, Forschungsperspektiven. Wiesbaden: Springer VS.
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  9. System von Schillers Ethik, nach des Dichters philosophischen Abhandlungen.GeorgGeil -1892 -Revue Philosophique de la France Et de l'Etranger 33:668-669.
     
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  10.  77
    Concepts of Animal Health and Welfare in Organic Livestock Systems.Mette Vaarst &Hugo F. Alrøe -2012 -Journal of Agricultural and Environmental Ethics 25 (3):333-347.
    In 2005, The International Federation of Organic Agricultural Movements (IFOAM) developed four new ethical principles of organic agriculture to guide its future development: the principles of health, ecology, care, and fairness. The key distinctive concept of animal welfare in organic agriculture combines naturalness and human care, and can be linked meaningfully with these principles. In practice, a number of challenges are connected with making organic livestock systems work. These challenges are particularly dominant in immature agro-ecological systems, for example those that (...) are characterized by industrialization and monoculture. Some of the current challenges are partly created by shortages of land and manure, which encourage zero-grazing and other confined systems. Other challenges are created in part by the conditions for farming and the way in which global food distribution systems are organized, e.g., how live animals are transported, how feed is traded and transported all over the globe, and the development of infrastructure and large herds. We find that the overall organic principles should be included when formulating guidelines for practical organic animal farming. This article explores how the special organic conceptions of animal welfare are related to the overall principles of organic agriculture. The aim is to identify potential routes for future development of organic livestock systems in different contexts and with reference to the specific understanding of animal welfare in organic agriculture. We include two contrasting cases represented by organic livestock systems in northwestern Europe and farming systems in tropical low-income countries; we use these cases to explore the widely different challenges of organic livestock systems in different parts of the world. (shrink)
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  11.  105
    In search of ‘extra data’: Making tissues flow from personal to personalised medicine.Mette N. Svendsen &Clémence Pinel -2021 -Big Data and Society 8 (2).
    One of the key features of the contemporary data economy is the widespread circulation of data and its interoperability. Critical data scholars have analysed data repurposing practices and other factors facilitating the travelling of data. While this approach focused on flows provides great potential, in this article we argue that it tends to overlook questions of attachment and belonging. Drawing upon ethnographic fieldwork within a Danish data-linkage infrastructure, and building upon insights from archival science, we discuss the work of data (...) practitioners enabling the repurposing of pathology samples extracted from patients for the conduct of ‘personal medicine’ – our term to discuss the so-called old-fashioned treatment of patients – towards personalised medicine. This first involves ‘getting to know’ the tissues and unpacking their previous uses and meanings, then detaching them from their original source to extract data from such tissues and making them flow towards a new container where they can be worked on and connected with other data. As data practitioners make these tissues travel, transforming them into research data, they organise the attachments of data to new agendas, persons and places. Crucially, in our case, we observe the prominence of national attachments, whereby managing tissues and data in and out of containers involves tying them to the nation to serve its interests. We thus expose how the building of data linkage infrastructures entails more than the accumulation and curation of data, but also involves crafting meanings, futures and belonging to specific communities and territories. (shrink)
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  12.  15
    The philosophy of Edith Stein: from phenomenology to metaphysics.Mette Lebech -2015 - Oxford: Peter Lang.
    Many interested reader will have put aside a work by Edith Stein due to its seeming inaccessibility, with the awareness that there was something important there for a future occasion. This collection of essays attempts to provide an idea of what this important something might be and give a key to the reading of Stein’s various works. It is divided into two parts reflecting Stein’s development. The first part, «Phenomenology», deals with those features of Stein’s work that set it apart (...) from that of other phenomenologists, notably Husserl. The second part is entitled «Metaphysics», although Stein the phenomenologist would, like Husserl, initially have shied away from this designation. However, as Stein gradually understood the importance of the Christian faith for completing the phenomenological project of founding the sciences, and accepted it as indispensable for a philosophical view of the whole, her «attempt at an ascent to the meaning of being» can legitimately be called metaphysics, even as it also constitutes a fundamental criticism of Aristotle and Aquinas. (shrink)
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  13. Race : a contested and travelling concept.Mette Andersson -2017 - In Hȧkon Leiulfsrud & Peter Sohlberg,Concepts in action: conceptual constructionism. Boston: Brill.
     
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  14. Different approaches to principles of biomedical ethics : a philosophical analysis and discussion of the theories of the American ethicists Tom L. Beauchamp & James F. Childress and the Danish philosophers Jakob Rendtorff & Peter Kemp.Mette Ebbesen -2010 - In Tyler N. Pace,Bioethics: Issues and Dilemmas. New York: Nova Science Publishers.
     
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  15.  34
    A Psychoanalytic Examination of Birth Order in The Lion, the Witch and the Wardrobe.Geil Sarah -2016 -Aletheia: The Alpha Chi Journal of Undergraduate Scholarship 1 (1).
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  16.  21
    ‘The Cruel Radiance of What Is’: Empathy, Imagination and Estrangement in Johan van der Keuken's Face Value and Herman Slobbe.AbrahamGeil -2020 -Paragraph 43 (3):330-347.
    This article takes up film and imagination via the problem of empathy. Proposing a different entry into contemporary polemics over empathy, the ‘empathic imagination’ is reconceptualized as a problematic of form rather than psychological experience. That is, instead of adopting a pre-given notion of empathy to illuminate the relation between film and the spectator's moral imagination, this article considers how that imagination is constituted in and through the image to begin with. After tracing the genealogy of empathy in German aesthetics, (...) the concept is put into play through readings of ‘#Look Beyond Borders’, an online video produced by Amnesty International, and two documentaries by Johan van der Keuken – Face Value and Herman Slobbe. In these works, the facial image is read as the imaginary terrain in which to explore very different notions of what might count as empathy and the empathic imagination in film and media. (shrink)
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  17.  39
    Is It Science? How to Delimit Science in Cases of Scientific Dishonesty.Mette Hartlev -2007 -Jahrbuch für Wissenschaft Und Ethik 12 (1):5-20.
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  18.  30
    Discovering Reality: Feminist Perspectives on Epistemology, Metaphysics, Methodology, and Philosophy of Science.HjortMette -1987 -Philosophical Review 96 (2):286.
  19.  102
    The Dynamics of Retraction in Epistemic Networks.Travis LaCroix,AndersGeil &Cailin O’Connor -2021 -Philosophy of Science 88 (3):415-438.
    Sometimes retracted or refuted scientific information is used and propagated long after it is understood to be misleading. Likewise, retracted news items may spread and persist, despite being publi...
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  20.  184
    On the Social Epistemology of Psychedelic Experience.Mette Marie Pedersen &Asbjørn Steglich-Petersen -forthcoming -Philosophical Psychology.
    Both traditional and recent accounts of the beneficial and therapeutic effects of psychedelic experiences tie these effects to specifically epistemic changes, for example the enabling of spiritual or psychological insight, or disruption of problematic beliefs or thought patterns. While these alleged benefits have sometimes been thought to be facilitated by false or even delusional beliefs (e.g. Pollan 2015), recent philosophical discussion strikes a more optimistic tone, arguing that the epistemic risks involved with psychedelic drug use tend to be relatively benign (...) and outweighed by epistemic benefits (Letheby 2021). In this paper, we seek to nuance this picture by drawing attention to the crucial role played by social factors in determining the epistemic effects of psychedelic experiences. We argue that the very openness of mind and heightened sense of clarity and certainty that is often thought to facilitate the epistemic benefits of psychedelic drug use, also make the user more vulnerable to adverse epistemic influence from the social environment, to a degree not acknowledged in the current literature. Examining the epistemic influences of the social environment is thus important for understanding the necessary precautions of informed consent and overall safe drug use. (shrink)
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  21.  30
    Bevissthet.Mette Kristine Hansen -2020 -Norsk Filosofisk Tidsskrift 55 (4):253-268.
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  22.  26
    When anxiety matters as a condition of possibility: about student-teachers’ anxiety experiences towards becoming a teacher.Mette Helleve &Knut Ove Æsøy -2021 -ENCYCLOPAIDEIA 25 (60):95-106.
    The purpose of this study is to explore the emotional dimension of the student-teachers’ experiences, which is marked by anxiety. This study is based on a combination of a phenomenological informed theoretical framework and a phenomenographic approach. The empirical material refers to in-depth interviews with student-teachers. Through an abductive analysis of the material, anxiety experiences appeared to be a significant matter in the student teachers’ emotional life. Our study showed that anxiety in different variations to a large extent characterized the (...) emotional dimension of the student teachers’ experiences. The variations were expressed through three overarching categories of anxiety. The first category of anxiety is about losing one’s dignity, the second about not being recognized as a person, and the third about doing something very wrong. To operationalize the purpose of this study, we will discuss the importance of considering anxiety experiences as a didactical content component in teacher education. (shrink)
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  23.  13
    The strategy of letters.Mette Hjort -1993 - Cambridge: Harvard University Press.
    Introduction O DY ss E us , one of the earliest and best-known strategists in the history of literature, chances upon the cave of the dim-witted giant ...
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  24.  41
    Edith Stein’s Philosophy of Education in The Structure of the Human Person.Mette Lebech -2006 -Maynooth Philosophical Papers 3 (9999):163-177.
    Because the image we have of the human person determines educational practice, Stein’s philosophy of education consists in anthropology. Her main work in education theory falls into two parts, philosophical and theological, as both disciplines influence our image of the human person. The Structure of the Human Person, the first and philosophical part of this foundational project, constitutes Stein’s mature philosophy of the human person – a subject that had occupied her all her life. This article examines the philosophical anthropology (...) of this work, its historical background and its place within Stein’s entire work. (shrink)
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  25. Friendship: the Dialectics of Personal identity.Mette Lebech -2001 -Yearbook of the Irish Philosophical Society:103-113.
     
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  26.  13
    Intersubjectivity, humanity, being: Edith Stein's phenomenology and Christian philosophy.Mette Lebech &John Haydn Gurmin (eds.) -2015 - Oxford: Peter Lang.
    This volume brings together revised versions of papers presented at the inaugural conference of the International Association for the Study of the Philosophy of Edith Stein (IASPES). The conference papers are supplemented by a number of specially commissioned essays in order to provide a representative sample of the best research currently being carried out on Stein’s philosophy in the English speaking world. The first part of the volume centres on Stein’s phenomenology; the second part looks at her Christian philosophy; and (...) the third part explores the contexts of her philosophical work. (shrink)
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  27.  64
    The Philosophy of Edith Stein.Mette Lebech -2009 -International Philosophical Quarterly 49 (3):412-414.
  28.  11
    Der Spielende Gott.Hans JoachimMette -1979 -Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 123 (1-2):195-201.
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  29.  20
    Digital phenotyping and data inheritance.Mette N. Svendsen &Sara Green -2021 -Big Data and Society 8 (2).
    Proponents of precision medicine envision that digital phenotyping can enable more individualized strategies to manage current and future health conditions. We problematize the interpretation of digital phenotypes as straightforward representations of individuals through examples of what we call data inheritance. Rather than being a digital copy of a presumed original, digital phenotypes are shaped by larger data collectives that precede and continuously change how the individual is represented. We contend that looking beyond the individual is crucial for understanding the factors (...) that can ‘bend’ digital mirrors in specific directions. Since algorithms used for digital profiling are based on historical data, their predictions often inherit and increase the values and perspectives of past data practices. Moreover, the data legacies we leave behind today may return as so-called ‘data phantoms’ that conflict with the interests of the individual and contest who and what the ‘original’ is. (shrink)
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  30.  943
    What is Human Dignity?Mette Lebech -2004 -Maynooth Philosophical Papers 2:59-69.
  31.  49
    Ships in the Rising Sea? Changes Over Time in Psychologists’ Ethical Beliefs and Behaviors.Rebecca A. Schwartz-Mette &David S. Shen-Miller -2018 -Ethics and Behavior 28 (3):176-198.
    Beliefs about the importance of ethical behavior to competent practice have prompted major shifts in psychology ethics over time. Yet few studies examine ethical beliefs and behavior after training, and most comprehensive research is now 30 years old. As such, it is unclear whether shifts in the field have resulted in general improvements in ethical practice: Are we psychologists “ships in the rising sea,” lifted by changes in ethical codes and training over time? Participants completed a survey of ethical beliefs (...) and behaviors. Analyses examined group differences, consistency of frequency and ethicality ratings, and comparisons with past data. More than half of behaviors were rated as less ethical and occurring less frequently than in 1987, with early career psychologists generally reporting less ethically questionable behavior. Recommendations for enhancing ethics education are discussed. (shrink)
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  32.  42
    Further Development of Beauchamp and Childress’ Theory Based on Empirical Ethics.Mette Ebbesen -2013 -Journal of Clinical Research and Bioethics 4 (2).
  33. The five obstructions.Mette Hjort -2008 - In Paisley Livingston & Carl R. Plantinga,The Routledge Companion to Philosophy and Film. New York: Routledge.
     
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  34. (1 other version)Stein’s Phenomenology of the Body.Mette Lebech -2008 -Yearbook of the Irish Philosophical Society.
     
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  35. Bd. Jugendschriften, 1861-1864.Hrsgvon Hans JoachimMette -1933 - In Friedrich Wilhelm Nietzsche & Weimar Stiftung Nietzsche-Archiv,Werke und Briefe. München: C.H. Beck'sche Verlagsbuchhandlung.
     
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  36.  8
    Major Von Tellheim Ist,ratlos'.Hans JoachimMette -1962 -Philologus: Zeitschrift für Antike Literatur Und Ihre Rezeption 106 (1-2):151-153.
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  37.  22
    Nachdruck:: Die Bedeutung der sowjetischen Neuropathologie und Psychiatrie für die Neugestaltung der Fachrichtung während des Aufbaus des Gesundheitsschutzes in der DDR.AlexanderMette -2010 -NTM Zeitschrift für Geschichte der Wissenschaften, Technik und Medizin 18 (3):337-355.
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  38. Werke: 1. Bd. Jugendschriften, 1854-1861.Hrsgvon Hans JoachimMette -1933 - In Friedrich Wilhelm Nietzsche & Weimar Stiftung Nietzsche-Archiv,Werke und Briefe. München: C.H. Beck'sche Verlagsbuchhandlung.
     
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  39.  33
    Coping at Work.Mette Sandoff &Gill Widell -2008 -Journal of Human Values 14 (2):157-168.
    The intention of this article is to continue the discussion on the tension in the relations between joy and commitment of employees on the one side and type of organization on the other. Earlier empirical studies of disciplinary practices among teachers and warders were developed with the help of hedonism as a psychological concept, attribution theories, theories on motivation and theories on the conflict between the individual and the organization. From these standpoints, a typology on coping strategies in work contexts (...) was developed, where four possible ‘ideal’ roles an individual can take were described. Most studies on disciplining, hedonism, and so, focus on the painful side of coping. Few studies focus on what people do in order to feel well, which is in focus for this article. The frame of reference here is discussed and developed in relation to work places where risks are at stake. The tensions between individual commitment and organizational demands might be most strengthened in such organizations. (shrink)
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  40.  24
    Wireless Heart Patients and the Quantified Self.Mette Nordahl Svendsen &Julie Christina Grew -2017 -Body and Society 23 (1):64-90.
    Remote monitoring of implantable cardioverter defibrillator (ICD) patients links patients wirelessly to the clinic via a box in their bedroom. The box transmits data from the ICD to a remote database accessible to clinicians without patient involvement. Data travel across time and space; clinicians can monitor patients from a distance and instantly know about cardiac events. Based on ethnographic fieldwork in two Danish hospitals, this article explores the configuration of the wireless ICD patient by following a number of patients through (...) hospitalisation, implantation, in-clinic follow-up, and remote monitoring. Wireless therapy, we argue, scripts the patient as data. In high-tech clinical encounters, data are enacted as extensions and copies of the patient, and even proxies that, in patients’ experiences, may turn into identity thieves. In illuminating the multiple positions that data take in such clinical encounters and in patients’ experiences we discuss the ambiguities that arise when patients go wireless. (shrink)
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  41. Cognitive Phenomenology.Mette Kristine Hansen -2019 -Internet Encyclopedia of Philosophy.
    Cognitive Phenomenology Phenomenal states are mental states in which there is something that it is like for their subjects to be in; they are states with a phenomenology. What it is like to be in a mental state is that state´s phenomenal character. There is general agreement among philosophers of mind that the category of mental states includes at least some sensory states. For example, there is something that it is like to taste chocolate, to smell coffee, to feel the (...) wind in one´s hair, to see the blue sky and to feel a pain in one´s toe. Is there also something that it is like to consciously think, to consciously judge and to consciously believe something? Are such cognitive states, when conscious, phenomenal states? Is there a clear distinction between sensory states and cognitive states? Or, can our knowledge, thoughts and beliefs influence our sensory experiences? Is there a cognitive phenomenology? It is challenging to give a clear characterization of the cognitive phenomenology debate, since different contributors conceive of the debate in different ways. Central for the debate is the question of whether conscious thoughts possess a non-sensory phenomenology. Intuitively, there is something that it is like to consciously think, consciously judge and consciously believe something. However, the debate about cognitive phenomenology is not, strictly speaking, about whether there is something that it is like to consciously think. Rather, the debate concerns the nature of cognitive phenomenology. Is the phenomenology of cognitive states reducible to purely sensory phenomenology? Or, is there an irreducible cognitive phenomenology? A sceptic about cognitive phenomenology claims that conscious cognitive states are non-phenomenal. But, conscious cognitive states may seem to be phenomenal because they are accompanied by sensory states. For instance, when one thinks that ´Paris is a beautiful city`, one´s thought may be expressed in inner-speech and an image of Paris may accompany it. These accompanying sensory states are phenomenal states, and not the thought itself. Contrary to this, the proponent of cognitive phenomenology claims that a conscious cognitive state can have a phenomenology that is irreducible to purely sensory phenomenology. Other debates have also been placed under the ´cognitive phenomenology’ label. There is an ongoing debate within the philosophy of perception about how cognition influences our sensory experiences. Philosophers tend to agree that, for example, an expert ornithologist´s perceptual experience of a type of bird can differ from that of a novice, even if the viewing conditions for both expert and novice are the same. The expert´s knowledge of birds can influence her experience. However, what philosophers disagree about is how the expert´s knowledge influences her experience, and how her knowledge contributes to what her experience is like. (shrink)
     
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  42.  219
    (1 other version)The Role of the Humanities and Social Sciences in Nanotechnology Research and Development.Mette Ebbesen -2008 -NanoEthics 2 (3):333-333.
    The experience with genetically modified foods has been prominent in motivating science, industry and regulatory bodies to address the social and ethical dimensions of nanotechnology. The overall objective is to gain the general public’s acceptance of nanotechnology in order not to provoke a consumer boycott as it happened with genetically modified foods. It is stated implicitly in reports on nanotechnology research and development that this acceptance depends on the public’s confidence in the technology and that the confidence is created on (...) the basis of information, education, openness and debate about scientific and technological developments. Hence, it is assumed that informing and educating the public will create trust, which will consequently lead to an acceptance of nanotechnology. Thus, the humanities and social sciences are seen as tools to achieve public acceptance. In this paper, the author argues that this is a narrow apprehension of the role of the humanities and social sciences. The humanities and social sciences have a critical function asking fundamental questions and informing the public about these reflections. This may lead to scepticism, however, the motivation for addressing the social and ethical dimensions of nanotechnology should not be public acceptance but informed judgement. The author illustrates this critical function by discussing the role, motivation and contribution of ethics as an example. Lastly, the author shows that a possible strategy for incorporating the humanities and the social sciences into nanotechnology research and development is Real-Time Technology Assessment, where the purpose is to integrate natural science and engineering investigations with ethical, legal and social science from the outset. (shrink)
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  43.  28
    A Processual Model of CEO Activism: Activities, Frames, and Phases.Mette Morsing &Laura Olkkonen -2023 -Business and Society 62 (3):646-694.
    Chief executive officers (CEOs) engage in activism when they take public stances on sensitive socio-political issues. In this study, we address the less-explored activities that constitute CEO activism beyond single stances as the activism is maintained over time. The data cover 6 years of campaign and media materials from a case company with several CEO-initiated activist campaigns. Our findings from an inductive analysis contribute to CEO activism theorizing in three ways. First, we extend CEO activism conceptually by identifying five underlying (...) activities that support a public stance: anchoring motivations, modeling action, taking agency, enduring criticism, and normalizing activism. Second, we bridge individual- and organization-level analyses by depicting how a CEO involves a company in activism through activities that justify interrelated topic frame and role frame. Third, we develop a processual model that includes the pre-stance, stance-taking, and post-stance phases and explains how the underlying activities are interrelated and follow a pattern that serves to maintain CEO activism. Accordingly, CEO activism includes activities, through the pre-stance, stance-taking, and post-stance phases, whereby a CEO deliberately engages personally and through a company in public debate about sensitive socio-political issues and the role of businesses in addressing them. (shrink)
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  44.  67
    Using empirical research to formulate normative ethical principles in biomedicine.Mette Ebbesen &Birthe D. Pedersen -2006 -Medicine, Health Care and Philosophy 10 (1):33-48.
    Bioethical research has tended to focus on theoretical discussion of the principles on which the analysis of ethical issues in biomedicine should be based. But this discussion often seems remote from biomedical practice where researchers and physicians confront ethical problems. On the other hand, published empirical research on the ethical reasoning of health care professionals offer only descriptions of how physicians and nurses actually reason ethically. The question remains whether these descriptions have any normative implications for nurses and physicians? In (...) this article, we illustrate an approach that integrates empirical research into the formulation of normative ethical principles using the moral-philosophical method of Wide Reflective Equilibrium (WRE). The research method discussed in this article was developed in connection with the project ‘Bioethics in Theory and Practice’. The purpose of this project is to investigate ethical reasoning in biomedical practice in Denmark empirically. In this article, we take the research method as our point of departure, but we exclusively discuss the theoretical framework of the method, not its empirical results. We argue that the descriptive phenomenological hermeneutical method developed by Lindseth and Norberg (2004) and Pedersen (1999) can be combined with the theory of WRE to arrive at a decision procedure and thus a foundation for the formulation of normative ethical principles. This could provide health care professionals and biomedical researchers with normative principles about how to analyse, reason and act in ethically difficult situations in their practice. We also show how to use existing bioethical principles as inspiration for interpreting the empirical findings of qualitative studies. This may help researchers design their own empirical studies in the field of ethics. (shrink)
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  45.  42
    Emotion and Value.Mette Kristine Hansen -2016 -Philosophical Quarterly 66 (264):641-643.
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  46. Danish cinema and the politics of recognition.Mette Hjort -1996 - In David Bordwell Noel Carroll,Post-Theory: Reconstructing Film Studies. University of Wisconsin Press. pp. 520--532.
  47. Dogme 95.Mette Hjort -2008 - In Paisley Livingston & Carl R. Plantinga,The Routledge Companion to Philosophy and Film. New York: Routledge.
     
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  48.  30
    Introducing dialogic as a research methodology.Mette Lund Kristensen -2020 -International Journal of Management Concepts and Philosophy 13 (3):196.
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  49.  18
    The Presence of Kant in Stein.Mette Lebech -2021 - In Cynthia D. Coe,The Palgrave Handbook of German Idealism and Phenomenology. Palgrave-Macmillan. pp. 407-428.
    Kant’s Critique of Pure Reason plays an important role for Stein’s understanding of phenomenology. It exemplifies for her an idealist position espoused by the later Husserl but denounced by Stein as a metaphysical conviction. Nevertheless, in her discussions of the philosophy of the natural sciences she returns many times to Kant to address the nature and experience of causality, and the status of the categories and space. She follows Reinach’s criticism of Kant for subjectivizing the a priori and argues that (...) phenomenology is the way to liberate Kantianism from its uncritical elements. This chapter argues that her engagement with Kant occasions a clarification of her own metaphysical position as closer to that of Plato than that of Aristotle. (shrink)
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  50. Political Poetry: A Few Notes. Poetics for N30.Jeroen Mettes -2012 -Continent 2 (1):29-35.
    continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)
     
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