A Postmodern Reply to Perez Zagorin

This article engages with the arguments forwarded by Perez Zagorin against the possible consequences of postmodernism for history as it is currently conceived of particularly in its “proper” professional/academic form (“History, the Referent, and Narrative: Reflections on Postmodernism Now,”History and Theory 38 [1999], 1‐24). In an overtly positioned response which issues from a close reading of Zagorin's text, I argue that his all‐too‐typical misunderstandings of postmodernism need to be “corrected”—not, however, to make postmodernism less of a threat to “history as we have known it,” or to facilitate the assimilation of its useful elements while exorcising its “extremes.” My “corrections” instead forward the claim that, understood positively and integrated into those conditions of postmodernity which postmodernism variously articulates at the level of theory, such theory signals the possible “end of history,” not only in its metanarrative styles (which are already becoming increasingly implausible) but also in that particular and peculiar professional genre Zagorin takes as equivalent to history per se. And I want to argue that if this theory is understood in ways which choose not to give up (as Derrida urges us not to give up) the “discourse of emancipation” after the failure of its first attempt in the “experiment of modernity,” then this ending can be considered “a good thing.”     

A Reply to the foregoing Criticism

This paper discusses the vetlatori dance performed on the occasion of a baptised infant's death in the Valencia region of Spain until about fifty years ago. Analyses of historical sources that emphasise the noble spirituality of the vetlatori dance are shown to be based on romantic views of traditional culture and emotions related to the loss of an infant, rather than on authentic information. Ethnographic and ethnomusicological data are presented to illustrate that the music and dances performed during the vetlatori dance were meant for entertainment rather than for spiritual impact. Recourse is also had to oral sources, particularly interviews carried out in the 1960s and 1980s with former infant wake participants who experienced the vetlatori dance, and who confirmed the popular nature of the music, song, and dances that were performed. Analysis of written sources and of the choreographic and musical characteristics of the dance also shows that the kind of music performed was typical of festive celebration in the Valencia region. Functional outcomes for such wakes are also proposed.     

Transcendence and Apocalyptic: A Reply to Barber

Abstract

This essay takes up Dan Barber's challenge to think Christian theology non-analogically. It does so by re-affirming and re-conceiving transcendence according to a kind of apocalyptic exigence. Apocalyptic transcendence, it is argued, occurs according to a mode of action that is irreducible either to the univocal production of pure immanence, or to the analogical mediation of transcendence within immanence. Rather, apocalyptic transcendence is operative as a mode of action by which immanence is suspended and the territorial conceptions of this-worldly sovereignty are denied. Through engagement with the work of John Howard Yoder, it is argued that apocalyptic thus gives way to doxology as that mode of engaged and embodied action that alone exceeds the presumed need for effective ontological production.     

Poesis and Immediacy: A Reply to Davis

Abstract

It is argued here that the Christian doctrines of Trinity and creation make imperative the notion of "mediation" as God's mode of existing in himself and toward us, as well as our mode of existence in God's grace. This is the case in Saint Thomas's account of grace, and it is also the basic configuration of Sergei Bulgakov's sophiology. Josh Davis's understanding of grace, by opting for immediacy as our mode of dependence on God, ultimately fails to give a full account of human cooperation, and in so doing establishes a competitive relation between human and divine agency.     

A Reply to the Foregoing "Protest."

THE POLISH PEASANT IN EUROPE AND AMERICA. Monograph of an Immigrant Group. By WILLIAM I. THOMAS and FLORIAN ZNANIECKI. 5 vols. The University of Chicago Press. 1918. Reviewed by M. A. Czaplicka.     

Sources of Damasios Error A Reply to Damasio

Lina Stern (1878–1968), a neurophysiologist and biochemist, was born in Russia. She studied at the University of Geneva, Switzerland, where, after graduating, she conducted original research in physiology and biochemistry. In 1918, Stern was the first woman to be awarded a professional title at the University of Geneva and headed the department of Physiological Chemistry. She is deservedly considered to be one of the first scientists to entertain the concept of a blood-brain barrier. In 1929, Stern founded the Institute of Physiology in Moscow, of which she was director until 1948, when it was discontinued. Under her leadership, multidisciplinary groups of colleagues worked on the problems of the blood-brain and tissue-brain barriers and homeostasis of the brain. In 1939, Stern was elected full member of the Academy of Sciences and became its first female member ever.

Most scientists manage to conduct their research by adjusting to the political and social situations surrounding them. Lina Stern did not follow this path. This small woman of complete devotion to science took the drastic decisions that altered her life. Though destiny was not kind to her, Lina Stern did not compromise. Despite a threat of execution, prolonged imprisonment, and exile she was never broken as a scientist and always maintained her dignity.