The Introduction provides a historical and literary context for the examination of Albert Camus’s 1947 fictional novel, The Plague, to suggest its relevance to our own lived experiences of the 2021 Covid-19 pandemic that brought the routines and expectations of our normal, daily lives to an unprecedented halt. Details of Camus’s life and work inform our reading of the narrative that give rise to multiple interpretations as well as intriguing questions of scholarly inquiry: How realistic are the characters? Does solidarity (...) eventually triumph over isolation? Does the popular novel inspire social change or fail in its aspirations? Facing the absurdity of a similarly unwelcome and unpredictable disease, have we managed our fear of death more successfully than the citizens of Oran? An overview of authors’ contributions sets the stage for new and unique perspectives: an invitation for readers to reflect upon our communal experience of immense grief. (shrink)

_La Peste_, originally published in 1947 by the Nobel Prize-winning writer Albert Camus, chronicles the progression of deadly bubonic plague as it spreads through the quarantined Algerian city of Oran. While most discussions of fictional examples within aesthetics are either historical or hypothetical, Camus offers an example of "pestilence fiction." Camus chose fiction to convey facts--about plagues in the past, his own bout with tuberculosis at age seventeen, living under quarantine away from home for several years, and forced separation from (...) his wife who remained in Algiers while he was abroad in Nazi-occupied France. His own lived experiences undergird an imaginative account of shared human realities with which we can identify: vulnerability to the disease, isolation, fear, and finally humanitarianism. _The Plague_ teaches us to neither covet nor expect what we so casually took for granted. This collection of original essays on philosophical themes in _The Plague_ is of special relevance during and in the aftermath of Covid-19 but also provides reflections that will be of lasting value to those interested in this classic work of literature. The novel explores questions of enduring importance. Do we collectively meet the threshold of ethical behavior posed by Camus who wrote, "What's true of all the evils in the world is true of plague as well. It helps men to rise above themselves"? Or does the absurd undermine the compassionate? Do "heroes" dutifully fight a plague with "common decency," or does human nature resign itself to the normalization of uncontrollable suffering and death? There are myriad ways to approach the novel and this volume encourages readers to ponder human dilemmas in fictional Oran informed by our current pandemic. Series editor forward by Richard Eldridge. List of Contributors includes Steven G. Kellman, Jane E. Schultz, Andrew Edgar, Kathleen Higgins, Edward B. Weiser, Cynthia A. Freeland, and Margaret E. Gray; see "Introduction" by Peg Brand Weiser below. (shrink)

Not everyone faces “modern” death equally, whether in Oran or today’s world. In this chapter, I argue that the “difficulty” in Oran of “modern death” as described by Camus is still with us today in that Americans neither faced death together in any form of solidarity under the Trump administration nor faced death individually in any traditional “decent” manner (as proposed by the character Tarrou), that is, comforted by family or friends. One reason is overwhelming fear of death—what neuroscientists call (...) “existential anxiety”—that can motivate human behavior toward either selfishness or an ethics of care. As a result of lived experiences of the pandemic, a sense of “heroic solidarity” has perhaps been finally achieved that moves us from despair to hope, confirming Camus’s faith in humanity. (shrink)

Arthur C. Danto proposes a complex and controversial relationship between surface and deep interpretations in The Philosophical Disenfranchisement of Art (1986). We detail the analogy between understanding human actions and interpreting works of art that both develops a motivation for Danto's view and clarifies it. We object to the most plausible version of content dependency among surface and deep interpretations and in so doing, we also clarify the way in which an interpretation is constitutive of an artwork.

Can an ordinary viewer ever experience art---particularly politically charged, socially relevant art--in a neutral, detached, and objective way? The familiar philosophical notion of disinterestedness has its roots in eighteenth-century theories of taste and was refined throughout the twentieth century. In contrast, many contemporary theorists have argued for what I call an "interested approach" in order to expand beyond the traditional emphasis on neutrality and universality. Each group, in effect, has argued for the value of a work of art by excluding (...) the other's approach. This essay will consider the legacy of the concept of disinterestedness for contemporary aesthetic theory in light of challenges posed by postmodern skepticism regarding the possibility of disinterestedness, and by the difficulties involved in appreciating political art with a disinterested attitude. My principle example of political art will be drawn from feminist art--the extraordinary and controversial performance art of the French artist, ORLAN. Unlike traditional philosophers, I will advocate that an interested stance toward art is, at times, inevitable and appropriate. I will also argue not only that feminist art--and by extension political art of all kinds--can be experienced disinterestedly, but that it should be. As a position inconsistent with both traditionalists and feminist critics of tradition, my recommendation of both disinterestedness and interestedness affords what I take to be the fullest and fairest experience of a work of art. (shrink)

Co-authored letter to the APA to take a lead role in the recognition of teaching in the classroom, based on the participation in an interdisciplinary Conference on the Role of Advocacy in the Classroom back in 1995. At the time of this writing, the late Myles Brand was the President of Indiana University and a member of the IU Department of Philosophy.

This is the co-authored--with Carolyn Korsmeyer--Introduction to the first published feminist scholarship in The Journal of Aesthetics and Art Criticism (Volume 48, Number 4, Fall 1990). Contributors included Hilde Hein, Paul Mattick, Jr., Timothy Gould, Joanne B. Waugh, Joseph Margolis, Mary Devereaux, Noel Carroll, Flo Leibowitz, Anita Silvers, Elizabeth Ann Dobie, Renee Cox, and Ellen Handler Spitz. All essays were subsequently published in an expanded book version entitled, Feminism and Tradition in Aesthetics by Penn State Press (1995).

This chapter contains sections titled: Analogy with Human Action The Dependency Theses Are Deep Interpretations Weakly Dependent on Surface Interpretations? Consequences for the Constitutive Dependency Thesis.

Both books published in 1996 explore the role that gender plays in the psychology of art (dealing with both making and viewing), complicating current philosophical distinctions between the aesthetic and the cognitive, and providing new insights into basic topics in the history and psychology of perception, representation, and disinterestedness.

Review of 1989 text by Ralph A. Smith, noted art education scholar during the era of DBAE (Discipline Based Art Education), that criticizes the author's agenda to remedy the ills of the state of arts education, arts' secondary status to the sciences, pluralism, and popular ideologies of of contemporary culture as an agenda that is (below the surface) clearly conservative, male-centered, Eurocentric and elitist. My conclusion: "Educators, beware.".

In our paper "Surface and Deep Interpretation," we sought to provide detail and texture to Arthur Danto's views on interpretation, thereby explicating and defending them (as published in Mark Rollins, ed., Danto and His Critics (Blackwell, originally published 1993; second edition 2012). Leddy objects to our views; in the end, Danto's view, given our explication of it, remains tenable.

Feminism and Tradition in Aesthetics takes a fresh look at the history of aesthetics and at current debates within the philosophy of art by exploring the ways in which gender informs notions of art and creativity, evaluation and interpretation, and concepts of aesthetic value. Multiple intellectual traditions have formed this field, and the discussions herein range from consideration of eighteenth century legacies of ideas about taste, beauty, and sublimity to debates about the relevance of postmodern analyses for feminist aesthetics. Forward (...) by Arthur C. Danto, 20 authors include Paul Mattick, Jr., Caroline Korsmeyer, Timothy Gould, Christine Battersby, Mary Devereaux, bell hooks, REnee Lorraine, Trinh T. Minh-ha, Elizabeth Ann Dobie, Adrian Piper, Anita Silvers, Susan Feagin, Mary D. Garrard, Ellen Handler Spitz, Noel Carroll, Joanne Waugh, Joseph Margolis, Rita Felski, and Hilde Hein, as well as Peg Brand's essay, "Revising the Aesthetic-Nonaesthetic Distinction: The Aesthetic Value of Activist Art.". (shrink)

Beauty has captured human interest since before Plato, but how, why, and to whom does beauty matter in today's world? Whose standard of beauty motivates African Americans to straighten their hair? What inspires beauty queens to measure up as flawless objects for the male gaze? Why does a French performance artist use cosmetic surgery to remake her face into a composite of the master painters' version of beauty? How does beauty culture perceive the disabled body? Is the constant effort to (...) remain young and thin, often at considerable economic and emotional expense, ethically justifiable? Provocative essays by an international group of scholars discuss beauty in aesthetics, the arts, the tools of fashion, the materials of decoration, and the big business of beautification—beauty matters—to reveal the ways gender, race, and sexual orientation have informed the concept of beauty and driven us to become more beautiful. Here, Kant rubs shoulders with Calvin Klein. Beauty Matters draws from visual art, dance, cultural history, and literary and feminist theory to explore the values and politics of beauty. Various philosophical perspectives on ethics and aesthetics emerge from this penetrating book to determine and reveal that beauty is never disinterested. Foreward by Eleanor Heartney; "Introduction" by Peg Brand [Weiser] included here. Authors include Marcia M. Eaton, Noel Carroll, Paul C. Taylor, Arthur C. Danto, Kathleen M. Higgins, Susan Bordo, Dawn Perlmutter, Eva Kit Wah Man, Anita Silvers, Hilary Robinson, Kaori Chino, Sally Banes, and Peg Brand's essay "Bound to Beauty: An Interview with Orlan." (available on PhilPapers). (shrink)

Emphasizing the human body in all of its forms, Beauty Unlimited expands the boundaries of what is meant by beauty both geographically and aesthetically. Peg Zeglin Brand and an international group of contributors interrogate the body and the meaning of physical beauty in this multidisciplinary volume. This striking and provocative book explores the history of bodily beautification; the physicality of socially or culturally determined choices of beautification; the interplay of gender, race, class, age, sexuality, and ethnicity within and on (...) the body; and the aesthetic meaning of the concept of beauty in an increasingly globalized world. Foreward by Carolyn Korsmeyer. Authors include Noel Carroll, Gregory Velazco Y Trianosky, Monique Roelofs, Whitney Davis, Eleanor Heartney, Diana Tietjens Meyers, Phoebe M. Farris, Mary Devereaux, Jo Ellen Jacobs, Karina L. Cespedes-Cortes and Paul C. Taylor, Fedwa Malti-Douglas, Stephen Davies, Jane Duran, Valerie Sullivan Fuchs, Keith Lehrer, Allen Douglas, Cynthia Freeland, Eva Kit Wah Man, Mary Bittner Wiseman, and Peg Brand's essay, "ORLAN Revisited: Disembodied Virtual Hybrid Beauty.". (shrink)

British art historian Charles Harrison presumes the existence of a patriarchal world with power in the hands of men who dominate the representation of women and femininity. He applauds the ground-breaking work of feminist theorists who have questioned this imbalance of power since the 1970s. He stops short, however, of accepting their claims that all women have been represented by male artists as images of “utter passivity” (p. 4), routinely reduced by the male gaze to the status of exploited sexual (...) objects, or that women’s subjectivity is eroded by the visual treatment they receive at the hands of male artists such as Manet and Picasso. He wants to show that what is depicted in the picture plane by the (typically male) artist and enjoyed by the (typically male) spectator is more nuanced than just a simple privileged understanding between two men. He adds a third (and possibly fourth or more) party to the mix when he significantly redefines and expands our concept of the gaze: “A gaze may also be conceived of as a function of a painting’s represented content” (p. 9). In other words, a gaze may be “addressed outward by a represented figure,” and regardless of who and where, “the assumption conveyed by the term [‘gaze’] is that some differential and usually asymmetrical relation will be at stake in any exchange between one who directs the gaze and another at whom it is directed. In fact, it is just this difference—in age, in sex, in class, in interest, in power —that the operation of the gaze tends to mark” (p. 9). Referring to a woman depicted within the picture plane, he asks us to consider, “What does it feel like to look like this?” (p. 21) in order to entertain our many emotional responses and interpretations. When he adds, “What does it feel like to whom?” the sexual difference of the spectator also clearly comes into play. (shrink)

The "Introduction" to "Symposium: Beauty Matters" in the Journal of Aesthetics and Art Criticism, Vol. 57, No. 1 (Winter 1999), pages 1-10, is presented here. Abstract: The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. The three essays that follow, authored by Marcia Muelder Eaton, Paul C. Taylor, and Susan (...) Bordo, represent a conjoined effort to move "beauty" beyond the traditional parameters of past contextual theories of art--theories which in their own right (only decades ago and analogous to art criticism itself) opened up rich philosophical terrain beyond the confines of formalism. This introductory essay offer some guidance as to why a symposium on beauty merits attention. Exploring the ways artists and critics have revived the concept of beauty will provide a point of comparison between artworld practices and recent philosophical literature. Most importantly, a new approach to philosophical theorizing will be recommended: one that places questions of gender, race, and sexuality at the forefront of analyzing our experiences of beauty in nature, the human body, and art. Curiously, this new approach is not so much a radical departure from traditional philosophical aesthetics as it is a return to questions basic to the field since the time of Plato: questions about the types of qualities that inhere in objects of beauty, the kinds of experiences they provoke, and the ways we come to value both. (shrink)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

Images abound of women throughout the ages engaging in various activities. But why are there so few representations of childbirth in visual art? Feminist artist Judy Chicago once suggested that depictions of women giving birth do not commonly occur in Western culture but can be found in other contexts such as pre-Columbian art or societies previously considered "primitive." Chicago's own exploration of the theme resulted in the creation of The Birth Project (1980-85): an unprecedented series of eighty handcrafted works of (...) art created in a variety of needlework techniques by more than 130 artisans that celebrate the experience of birth and a woman's transformation into motherhood. But why is The Birth Project an aberration from today's norm? What are the reasons that childbirth remains a taboo subject in our visual culture? Why is the birthing experience--so pervasive for women--so infrequently celebrated, even by female artists? (shrink)

Imagine a deep philosophical conversation about a beautiful shot by a college player in a Final Four basketball game!

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.”. (shrink)

Feminist art epistemologies (FAEs) greatly aid the understanding of feminist art, particularly when they serve to illuminate the hidden meanings of an artist's intent. The success of parodic imagery produced by feminist artists (feminist visual parodies, FVPs) necessarily depends upon a viewer's recognition of the original work of art created by a male artist and the realization of the parodist's intent to ridicule and satirize. As Brand shows in this essay, such recognition and realization constitute the knowledge of a (...) well-(in)formed FAE. Without it, misinterpretation is possible and viewers fail to experience and enjoy a full and rewarding encounter with a provocative and subversive work of art. (shrink)

The point of this symposium is to locate one trajectory of the new wave of discussions about beauty beyond the customary confines of analytic aesthetics and to situate it at the intersection of aesthetics, ethics, social-political philosophy, and cultural criticism. Three essays follow this introduction authored by Marica Muelder Eaton, Paul C. Taylor, and Susan Bordo. They represent a conjoined effort to move 'beauty' beyond the traditional parameters of past contextual theories of art. This introductory essay offers some guidance as (...) to why a symposium on beauty merits attention in 1999. (shrink)

This chapter presents an overview of feminism and aesthetics in the 2007 Blackwell Guide to Feminist Philosophy edited by Linda Martin Alcoff and Eva Feder Kittay. Sections cover the topics of distinguishing aesthetics and philosophy of art, bringing feminist theory into aesthetics, developing feminist challenges to aesthetics, the role of women artists in feminist aesthetics, feminist philosophers reflect on self-portraiture and women as objects of beauty, and future developments.

Katy Deepwell calls for a vital and visible "new" feminist criticism in 1997 amidst a pessimistic overview of the state of feminist art and criticism in Britain, Canada, and the U.S. As an update to this review, I note that Deepwell took decisive and effective action on her pessimism and for the past twenty years (as of this writing in July 2017) created an online feminist journal--n.paradoxa: international feminist art journal--that has published over 550 articles by 400 writers and artists (...) from more than 80 countries. After 40 issues, the journal has come to an end. What a success story! (shrink)

I investigate the role of feminist theorizing in relation to traditionally-based aesthetics. Feminist artworks have arisen within the context of a patriarchal Artworld dominated for thousands of years by male artists, critics, theorists, and philosophers. I look at the history of that context as it impacts philosophical theorizing by pinpointing the narrow range of the paradigms used in defining “art.” I test the plausibility of Danto’s After the End of Art vision of a post-historical, pluralistic future in which “anything goes,” (...) a future that unfortunately rests upon the same outdated foundation as the concept “art.” This essay was originally published in The Proceedings of the Twentieth Century World Congress of Philosophy (1999) and reprinted in Noel Carroll, ed., Theories of Art Today (The University of Wisconsin Press, 2000). (shrink)

In this article I explore the concept of originality from several viewpoints. Within the world of printmaking, I show that while print dealers may draw attention to originality in order to enhance economic value, artists emphasize the aesthetic value of a work based on the freedom to express artistic intent and to experiment with techniques of the medium. Within the worlds of philosophy and to some extent, psychology, “originality” has been misleadingly tied to the notions of “creativity” and “genius,” thereby (...) replicating a cultural bias that links an artist to particular mental processes that are unnecessarily exclusive. An experiential account of creativity like the one recently advanced by Bence Nanay not only disadvantages those artists whose lived experiences reflect fewer social opportunities than their counterparts, but also invokes a concept of luck that undermines the role of originality within an artwork's overall aesthetic value. (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. Annotated (...) bibliography by Joshua Shaw. (shrink)

Beauvoir maintains a unified "compromise theory" of aesthetics throughout her ethics, feminism, and fiction that portrays the conundrum that every artist faces -- an impasse that sets action against inaction, politics against culture. Beauvoir's theory of art in The Mandarins, aided by an analysis of women's oppression in The Second Sex, advocates art that keeps past events alive in the present and in so doing, changes even the tragic into the life affirming. Beauvoir lauds artists who, even in the face (...) of self-doubt, continue to engage in artistic endeavors in order to maintain an ethical relationship to the rest of humanity. (shrink)

Davies presents the reader with a sterling review of the literature--the recent history of the interest in defining "art" through the writings of Anglo-American philosophers that follow Morris Weitz' well-known 1956 essay, "The Role of Theory in Aesthetics"--and a stimulating discussion of the role of conventions in the making and appreciating of contemporary art. His emphasis on the social nature of art leads one to wonder how other recent inquiries into the multilayered contextually of the artistic enterprise might fare under (...) his perusal, for example, feminist critiques of traditional definitions of "art," challenges to the elitist makeup of the Artworld, . . . and opposition to his very choice of paradigms: in addition to Duchamp, the "hard cases" include works by John Cage, Andy Warhol, Olivier Messiaen, Jorge Luis Borges, and Gerald Hoffnung. Definitions of Art is essential reading for anyone interested in the history of aesthetics and as it informs the current dialectic on art. (shrink)

These two books challenge museums--the predominant and continually evolving institutions of art delivery--in order to uncover and expose the rampant political biases and hidden strategies that their founders, administrators, and boards of trustees have utilized in order to maintain the preferred status quo of predominantly white male power.

Most artists who are familiar with the contemporary art scene—especially the New York City scene—know that “beauty” is not especially hip. Unless, that is, it serves a “deeper” purpose, e.g., it helps to make a conceptual or political point. Danto’s influence, it would seem, pervades and persists (31). But, as Brand points out in her introduction, in the past twenty years or so, the philosophical study of beauty has been making a comeback; she lists over fifty titles that have (...) been written on the subject since the nineties. Brand’s book, Beauty Unlimited, promises to add to the feminist oeuvre on the subject. The book is comprised of twenty essays, with a foreword by Carolyn Korsmeyer and an introduction by Brand. Although the majority of the essays are interdisciplinary, they are primarily written by trained philosophers. Other essays are written by practicing artists and writers, historians, and cultural anthropologists. (shrink)

Take a trip back in time with award winning Star Tribune reporter Peg Meier.

Sigmund Freud sah die Anziehungskraft christlich-religiöser „Illusionen“ in der möglichen Aussöhnung des Menschen mit dem Tod begründet. Heute hat die moderne Industriegesellschaft die Religion jedoch weitestgehend hinter sich gelassen, die Vorstellungen von Tod und Sterben haben sich gewandelt. Marina Brandes untersucht, wie, in welchem Alter, an welchen Orten und unter welchen Umständen heute im Vergleich zu vormodernen Epochen normalerweise gestorben wird. Sie zeigt, welche Assoziationen mit dem Tod verknüpft sind und entwickelt vor dem Hintergrund der Medizinalisierung, der Institutionalisierung des Sterbens (...) und der Ausgrenzung der Sterbenden, Perspektiven für ein versöhntes, gutes Sterben. (shrink)

This book covers all the material typically addressed in first or second-year college courses in Critical Thinking: Chapter 1: Critical Thinking 1.1 What is critical thinking? 1.2 What is critical thinking not? Chapter 2: The Nature of Argument 2.1 Recognizing an Argument 2.2 Circular Arguments 2.3 Counterarguments 2.4 The Burden of Proof 2.5 Facts and Opinions 2.6 Deductive and Inductive Argument Chapter 3: The Structure of Argument 3.1 Convergent, Single 3.2 Convergent, Multiple 3.3 Divergent Chapter 4: Relevance 4.1 Relevance 4.2 (...) Errors of Relevance Chapter 5: Language 5.1 Clarity 5.2 Neutrality 5.3 Definition Chapter 6: Truth and Acceptability 6.1 How do we define truth? 6.2 How do we discover truth? 6.3 How do we evaluate claims of truth? Chapter 7: Generalizations, Analogies, and General Principles 7.1 Sufficiency 7.2 Generalizations 7.3 Analogies 7.4 General Principles Chapter 8: Inductive Argument – Causal Reasoning 8.1 Causation 8.2 Explanations 8.3 Predictions, Plans, and Policies 8.4 Errors in Causal Reasoning (Three additional chapters – categorical logic, propositional logic, thinking critically about ethics – are available on the companion website.) -/- Special Features: -/- - The book takes a practice approach to learning how to think critically, so there are LOTS of exercises (within each chapter, focusing on discrete skills, and at the end of each chapter, focusing on more global skills in a cumulative fashion – thinking critically about what one sees, hears, reads, writes, and discusses). -/- - There is an extensive “Answers, Explanations, and Analyses” section that provides not just ‘the right answer’ but explanations as to why the right answer is right and why wrong answers are wrong; when the exercise is not a matter of providing an answer but of analyzing material, a detailed analysis is provided in this section; this feature is intended to help the student fully understand why some arguments are better than others (and why it’s not ‘just a matter of opinion’!). -/- - The regularly-appearing end-of-chapter “Thinking critically when you discuss” exercise is carefully graduated throughout the text, to gently lead students from sounding like a bad tv talk show to being able to hold an intelligent discussion. -/- - The regularly-appearing end-of-chapter “Thinking critically about what you write” exercise assumes almost no skill at the beginning and leads up to, in the last chapter, writing a 2,000 word position paper. -/- - A critical analysis template (a step-by-step approach to critical analysis) is presented in the first chapter and at the beginning of each subsequent chapter, and specific reference to it is made at the beginning of each end-of-chapter “Thinking critically about what you read” exercise (consisting of ten bits of increasing difficulty); this feature is intended to encourage the development of habitual, thorough analysis of arguments. -/- - Actual questions from standardized reasoning tests like the LSAT, GMAT, MCAT, and GRE are included. -/- - Ancillaries include an instructor’s manual; a test bank; PowerPoint slides; downloadable MP3 study guides; and interactive flash cards. (shrink)

Aspects of Law and Legal Systems -- Courts and Legal Reasoning -- Making, Justifying, and Evaluating Law -- Law and Individual Obligation -- Private Law -- Criminal Law -- Sentencing and punishment-- Statutes -- Constitutions -- International Law.

Shoma Morita, M.D. was a Japanese psychiatrist-professor who developed a unique four stage therapy process. He challenged psychoanalysts who sanctioned an unconscious or unconsciousness that resides inside the mind. Significantly, he advanced a phenomenal connection between existentialism, Zen, Nature and the therapeutic role of serendipity. Morita is a forerunner of eco-psychology and he equalised the strength between human-to-human attachment and human-to-Nature bonds. This book chronicles Morita's theory of "peripheral consciousness", his paradoxical method, his design of a natural therapeutic setting, and (...) his progressive-four stage therapy. It explores how this therapy can be beneficial for clients outside of Japan using, for the first time, non-Japanese case studies. The author's personal material about training in Japan and subsequent practice of Morita's ecological and phenomenological therapy in Australia and the United States enhance this book. LeVine's coining of "cruelty-based trauma" generates a rich discussion on the need for therapy inclusive of ecological settings. As a medical anthropologist, clinical psychologist and genocide scholar, LeVine shows how the four progressive stages are essential to the classic method and the key importance of the first "rest" stage in outcomes for clients who have been embossed by trauma. Since cognitive science took hold in the 1970s, complex consciousness theories have lost footing in psychology and medical science. This book reinstates "consciousness" as the dynamic core of Morita therapy. The case material illustrates the use of Morita therapy for clients struggling with the aftermath of trauma and how to live creatively and responsively inside the uncertainty of existence. The never before published archival biographic notes and photos of psychoanalyst Karen Horney, Fritz Perls, Eric Fromm and other renowned scholars who took an interest in Morita in the 1950s and 60s provide a dense historical backdrop. (shrink)