The death of John Stuart Mill

This article surveys the fiercely contested posthumous assessments of John Stuart Mill in the newspaper and periodical press, in the months following his death in May 1873, and elicits the broader intellectual context. Judgements made in the immediate wake of Mill's death influence biographers and historians to this day and provide an illuminating aperture into the politics and shifting ideological forces of the period. The article considers how Mill's failure to control his posthumous reputation demonstrates both the inextricable intertwining of politics and character in the 1870s, and the difficulties his allies faced. In particular, it shows the sharp division between Mill's middle and working class admirers; the use of James Mill's name as a rebuke to his son; the redefinition of Malthusianism in the 1870s; and how publication of Mill's Autobiography damaged his reputation. Finally, the article considers the relative absence of both theological and Darwinian critiques of Mill.

John of Worcester and the science of history

Although the ‘chronicle of chronicles’ compiled at Worcester c1095-c1140 is now firmly attributed to John of Worcester, rather than Florence, major questions remain. A central issue is that the semi-autograph manuscript of the chronicle (now Oxford, Corpus Christi College, Ms 157) underwent several alterations to its structure and contents, as codicological evidence demonstrates. These included the incorporation of important illuminations, which have been surprisingly little considered in their overall manuscript context. This article focuses on these illuminations, and will argue that their presence in this version of the chronicle makes it something even more distinctive than the learned, revisionist chronological work of Marianus Scotus upon which it was based. John of Worcester’s chosen images are linked not only to his political narrative but also to theological works and to cutting-edge science, newly translated from Arabic. The presence of such miniatures in a twelfth-century chronicle is unique, and they are central to the final form given to the Worcester chronicle by John of Worcester himself in this key manuscript. Their analysis thus brings into focus the impressive assembly of materials which the chronicle offered to readers, to shape their understanding of ongoing events.

Emotion and anticipation in an enactive framework for cognition (response to Andy Clark)

Undeniably, anticipation plays a crucial role in cognition. By what means, to what extent, and what it achieves remain open questions. In a recent BBS target article, Clark (in press) depicts an integrative model of the brain that builds on hierarchical Bayesian models of neural processing (Rao and Ballard, 1999; Friston, 2005; Brown et al., 2011), and their most recent formulation using the free-energy principle borrowed from thermodynamics (Feldman and Friston, 2010; Friston, 2010; Friston et al., 2010). Hierarchical generative models of cognition, such as those described by Clark, presuppose the manipulation of representations and internal models of the world, in as much detail as is perceptually available. Perhaps surprisingly, Clark acknowledges the existence of a “virtual version of the sensory data” (p. 4), but with no reference to some of the historical debates that shaped cognitive science, related to the storage, manipulation, and retrieval of representations in a cognitive system (Shanahan, 1997), or accounting for the emergence of intentionality within such a system (Searle, 1980; Preston and Bishop, 2002). Instead of demonstrating how this Bayesian framework responds to these foundational questions, Clark describes the structure and the functional properties of an action-oriented, multi-level system that is meant to combine perception, learning, and experience (Niedenthal, 2007).

The trilogy of John of God

Monteiro’s assertion of the almighty auteur, after the post-structuralist and post-modern experiences, which had shattered the author and his work in theory and practice, reinstates an authority aimed at organising the chaos caused by the lack of narrative. In a way, therefore, Monteiro’s output is conservative, displaying a peculiar atemporal style, which seems entirely immune to fashion. On the other hand, however, few contemporary films could be more radical than his. Authorship, in his case, means the absence of limits and total freedom of expressing his obsessive world.

John Lewis Partnership lessons in logical incrementalism and organic growth: a case study and interview with the Chairman, Mr Charlie Mayfield

Purpose – The purpose of this paper is to demonstrate how strategy is developed and implemented in an organisation with an unusual ownership model. Partnerships are not a prevalent form of ownership but as this case demonstrates they can be extremely effective. Furthermore this case demonstrates how logical incrementalism can be used to implement major strategic decisions. Design/methodology/approach – The paper draws on company documentary evidence and a semi-structured interview with Mr Charlie Mayfield, Chairman of John Lewis Partnership. A chairman has a helicopter view of business whose perspectives are rarely captured by strategy researchers. This case study offers an insight into strategic thinking of a chairman and chief executive of a successful company. Research limitations/implications – The case study and interview offer a unique insight into the rationale behind strategic decisions within a successful partnership that has grown organically in a highly competitive retail market without high gearing. Originality/value – This case study sheds light on strategic moves within partnership. Furthermore, very few case studies offer insight into the thinking of a chief executive who has successfully managed a business in a turbulent environment.

Iris Murdoch

This is an analysis of Iris Murdoch's plays, including The Italian Girl, The Severed Head, The Black Prince, The Three Arrows and The Servants and the Snow. It also assesses Murdoch's significance for theatre in the early 1960s and 70s, as Women's Theatre was beginning to make its mark.