In this chapter, we discuss whether there is a causal relationship between cannabis use and psychosis in terms of the criteria of causality proposed by Bradford-Hill. We conclude that the evidence for each of the criteria ranges from consistent in the context of strength, consistency, and temporality; strong in the context of biological gradient and experimental evidence; plausible in the context of biological plausibility and coherence. The association is not specific for psychosis but also includes depression and suicidal thoughts, and it is unclear whether the analogy criteira are appropriate. Thus, the epidemiological, experimental, and genetic evidence suggests that cannabis, particularly high potency cannabis, is a contributing factor to the incidence of psychosis in the population. In consequence, over the last 20 years there has been a shift in the argument from ‘whether there is a causal relationship between cannabis and psychosis’ to considering the magnitude of this relationship.

Since Edgar Allan Poe’s assertion that the short story must be read in a “single sitting,” short story theory has focused on the importance of endings as a hallmark of the form. This crystallized, in the 1980s and 1990s, in the rise of closure studies, a critical field that sought to taxonomize the ways stories end and its effects on the reader. This essay examines a feminist countertradition of short story writing that uses grammar as a tool to disrupt the form’s inbuilt narrative teleology. By interrogating the short story’s narrative temporality, writers such as Gertrude Stein, Lydia Davis, and Lorrie Moore use grammar to situate themselves, in distinctly gendered ways, in and against broader systems of time. Through a close examination of these writers, the essay explores how grammar offers a way of assessing not only the short story’s closures but also its various expansions and radical possibilities.

This chapter explores the indexical potential of time in three ways: chronological perspective, the use of temporal adverbs and adjectives to situate an episode within a larger span of literary history; marked iteration, the self-reflexive replay or foreshadowing of other events; and epigonal self-consciousness, the direct or indirect appeal to poetic predecessors. All three tropes are active in archaic epic and lyric, but with differing accents. In epic, references to time and iteration mark intratextual and intertextual cross-references and doublets, while epic heroes’ epigonal relationships with their πρότεροι figure the tensions of the poet’s relationship with his predecessors. In lyric poetry, temporal references similarly index tradition; δηὖτε marks both generic and intertextual repetition; and direct appeals to πρότεροι follow and challenge both whole genres and specific texts. Indexical temporality was deeply embedded in archaic Greek poetics from the very start.

The short story is the product of print culture but is finding new ways to thrive in the internet era. This can be through print stories going viral online or, more experimentally, born-digital stories reconfiguring relationships between author, text, and reader. This chapter considers two main subcategories of born-digital short fiction. Microfictions are self-contained flash fictions predicated on absolute verbal economy. Commonly found on Twitter, they call on longer print histories of microfictional experimentation and the francophone journalistic tradition of faits-divers. The second subcategory, microserializations, drip-feeds a narrative across multiple tweets, as in Jennifer Egan’s “Black Box.” Here too the subgenre recalls earlier traditions of nineteenth-century periodical serialization and Japanese cellphone novels (keitai shosetsu). Microserializations thus reintroduce the concept of temporality into the consumption of fiction, reviving readerly anticipation and creator–audience interactivity. Digital culture thus provides exciting new horizons for the always mobile, innately transmedial short story genre.

“What now? Enough is enough. Now we have to begin. Into our hands, life has been given.” With these exasperated words, Ernst Bloch’s The Spirit of Utopia begins like no other work of philosophy. In anger and aspiration, it does not begin with a pedantic preface or scholarly introduction. It begins in situ with a catastrophe that has thrown human existence back upon itself, from which no deliverance seems to be at hand. What is to be done? How can one survive? Caught in the condition of pitching “senselessly back and forth,” something nonetheless endures, we know not what, we know not how, but with nothing in our hands save our own obscurity, life still darkly speaks, for which, in this end of days, we want to be its initiative as well as its end.

Chapter 5 brings questions of musical time front and centre in order to explore and explicate the diverse temporal modes that co-exist in Schubert’s quartet movements. The static nature of the lyric mode is first considered via a reading of the Andante con moto from the Quartet in D, D94, which furnishes an example of the ways by which Schubert progressivises lyric time. The chapter then considers Schubert’s prominent amalgamation of sonata and variation impulses and its implications for the sense of time articulated by his music since the temporal perspective articulated by variation form is typically understood as being one of retrospection in contrast to the sonata. The role of variation as a technique of expansion is explored via the Quartet in G Minor, D173, and the chapter culminates in a reading of the late G-Major Quartet, D887. The analyses pursue two related ends: first, to analyse the movements’ formal syntax afresh by bringing their variational structures into dialogue with form-functional theory, and second, to demonstrate the role played by ambiguity and form-functional multiplicity in the movements’ generation of competing manifestations of musical time.

In Stage 5, the journey moves to meaning relations within sentences, introducing such topics of quantification (including generalized quantifiers), representing events and states, temporal, aspectual, and modal distinctions in semantics, and propositional attitude reports.

This chapter critically analyzes the work of late nineteenth-century and early twentieth-century white settler colonial writers who represented Indigenous characters and stories. It will examines how certain tropes persisted, from Rolf Boldrewood’s late romanticism to Eleanor Darks reconstructive modernism. It explores how novels by these writers manifest a contradictory set of ideas towards race and landscape, which it takes as emblematic of wider white Australian culture.

Jacobi’s influence on the founder of so-called existentialism, Søren Kierkegaard, has rarely been examined. This chapter explores Kierkegaard’s critical and somewhat polemical discussion of Jacobi’s notion of the “leap” in Concluding Unscientific Postscript, which not only shows that Kierkegaard was acquainted with Jacobi’s major work, Concerning the Doctrine of Spinoza but how it shaped Kierkegaard’s own particular development of the salto mortale.

Drawing on literary works from the Revolutionary Wars (Schiller’s Die Jungfrau von Orleans and Kleist’s Hermannsschlacht), the First World War (Erich Maria Remarque’s Im Westen nichts Neues and Ernst Jünger’s In Stahlgewittern), the Second World War (Christa Wolf's Kindheitsmuster) and the recent Iraq War (Handke’s Yugoslavia essays and Jelinek’s Bambiland), this chapter argues that the perception of specific historical wars is marked by distinct configurations of time and historicity. Literary representations of the Revolutionary Wars tend to conceive of war within a gradual unfolding of national destiny. Depictions of the First World War chafe against linear concepts of time and against concepts of temporal homogeneity. Representations of the Second World War radically deconstruct concepts of linearity and teleology. Here, time is a web in which the past impinges on the present and the present impacts the future. Both Handke’s and Jelinek’s texts, finally, are characterized by a detachment or even alienation from time and space occasioned by the mediatization of warfare on television and the web.

This chapter builds upon feminist reinterpretations of Darwinian evolutionary theory to reconsider how the processes of variation, heritability, and natural selection do not preclude the possibility of thriving disabled life. Despite the cooptation of Darwinian thinking by later social Darwinists and eugenicists that led to the mass institutionalization and genocide of disabled people, I argue that Darwin’s scientific writings provide the unexpected foundations for a counter-eugenic reading of evolution in their conception of life as perpetually changing and thus open-ended. From the perspective of disability, the value of an organism’s adaptation and form cannot be predetermined by any static notion of fitness that presumes ablebodiedness as a prerequisite for viable life. By reading evolutionary temporality and Darwin’s own disabled lived experience through disability theory’s conception of crip time, I ultimately suggest that Darwinian evolution imagines disability not reductively as an evolutionary dead end but instead as the variable adaptation of human survival.

Chapter three theorizes unruly landscapes through the relations of polities, peoples, and shifting ecologies. It emphasizes the myriad ways in which human-environment relationships are forged relative to a given social and political order. Threaded within a critique of existing conceptions of the political geography of Iron Age Cyprus are arguments for taking seriously the dynamic resources, places and community boundaries, and temporalities of urban and rural terrains. The chapter utilizes claims drawn from rural studies, anthropology and political ecology, and history to investigate settlement hierarchies and resource control, territoriality, and social time.

As Darwin recollects and writes his experience of teeming variety in the Brazilian rainforest, he conflates the roles of descrying natural historian and person of aesthetic sensibility. Thinking and feeling under the influence of eighteenth-century theories of the sublime and beautiful, Darwin writes his way into a dynamic that confounds object and subject and destabilizes the chronology of looking. Beginning with Darwin’s pretheoretical working through of the temporality of aesthetic experience, particularly the aesthetic experience of variety, this chapter illuminates the ways that Darwin’s theorization of variation, as a scene of distributed agency, was entangled with the processes of experiencing, reading and writing about variety—and impacted by the anticipation and reality of being read. The temporality of this multifaceted experience anticipates Darwin’s later conclusions about the place of anticipation itself in evolutionary processes that hinge on aesthetic phenomenology.

I outline the theories of temporal awareness and existential temporality that Merleau-Ponty gets from Husserl and Heidegger and qualifies with his account of body temporality. This constitutes an efficacious past that inhabits the present without ever having been present to consciousness. I then set out his stories about the tacit and spoken cogito and about the concrete subject or person. I consider objections to the effect that his account of the embodied subject seems to cast it as an unceasing project of acquisitive appropriation, and that his view of the body is an idealisation from an ageist and ableist perspective. My response is that his story about appropriation is qualified for the most part, and that his theory can be reworked to escape the charges of idealisation, ageism and ableism. I conclude by suggesting that his notion of radical reflection brings out how phenomenology is of its essence revisable and its futures unforeseeable.