Background: There is a significant discourse in the literature that opines that people who use illicit opiates are unable to provide informed consent due to withdrawal symptoms and cognitive impairment as a result of opiate use. Aims: This paper discusses the issues related to informed consent for this population. Ethical considerations: Ethical approval was obtained from both the local REB and the university. Written informed consent was obtained from all participants. Method: This was a qualitative interpretive descriptive study. 22 participants (...) were interviewed, including 18 nurses, 2 social workers and 2 clinic support workers. The findings were analyzed using thematic analysis, which is a way of systematically reducing the complexity of the information to arrive at generalized explanations. Results: The staff at the clinic were overwhelming clear in their judgment that people who use opiates can and should be able to participate in research and that their drug use is not a barrier to informed consent. Conclusions: It is important to involve people who use opiates in research. Protectionist concerns about this population may be overstated. Such concerns do not promote the interests of research participants. People who use heroin need to be able to tell their story. (shrink)

Making sense of the stories that people with Alzheimer's tell: a journey with my motherConfabulation or pseudo‐reminiscence of the sort produced by people with Alzheimer's is reconsidered by applying existing theories about the structure of narrative and work on reminiscence, and the construction of a life story to the stories told by the author's mother. This approach provides the basis for going beyond a negative estimate of confabulatory stories based on their apparent confusion of past and present, truth and fantasy., (...) to a more positive estimate of diem as complying with the norms of narrative, and as being functional for their teller as a means both of interaction and of reconstructing an identity. It also allows for identification of certain predominant themes, which may help one to grasp die general sense of such stories. (shrink)

There is nothing quite like parrot pie for breakfast. First one must catch one's parrot, of course, and build the hearth to bake it, but that is all in a days work for the woman pioneer. This riveting anthology tells the story of over 100 such women spanning four centuries, from the lowliest kitchen skivvy to ambassadors' wives: emigrants who settled the wildernesses of the world in search of new and better lives. Many were lured abroad by the promise of (...) work or fortune; some went because imperial duty called, while for others it was a most unfeminine lust for adventure that drew them away. But all faced challenges in their homes from home that were to test to the limit their spirits, their resourcefulness, even their survival. (shrink)

Parent–teacher relations are often characterized as highly conflictual in the educational literature, with scant empirical evidence of how the disagreements occur in everyday talk. Close analysis of a teacher's account of an intense conflict with a student's mother over the National Honor Society grounds the abstract discourses of merit and difference in the worlds of parents, teachers and students. Narrating primarily through reported speech, in a ‘she said, I said’ fashion, the teacher recreates her conversations about the National Honor Society (...) and the graduation ceremony. Creating the social milieu through reported speech and the inner reality by telling what she left unspoken, she captures the derision between parents and teachers. Moreover, the adult struggles obscure the adolescents' initial concerns about elitism. Exposed to reform debates, the teacher reveals her consciousness about diversity and privilege. The mother's understanding reflects traditions of individualism and meritocracy without regard to barriers created by race, sex, class and disability. The encounter ends without opportunity for fuller articulation. Notwithstanding these tendencies, the individual parent–teacher conference remains the most widely employed format in US schools, emblematic of an extremely privatized notion of that relationship. The author frames the conflict in terms of school community and public education at large to identify possibilities for more generative communication. (shrink)

Have humans always had the desire to inhabit other worlds? From the microscopic scale to the vastness of outer space, it seems our capacity for occupying uninhabitable spaces with our intellect, our bodies, our sensorium, our desire, is fundamental to our being. What are these spaces and how do we come to ‘know’ them? Whether mythological, religious or scientific, these minute or vast worlds are spaces that we unfold, narrate and dwell in. In his short story ‘The Stone Sky’ the (...) novelist Italo Calvino writes of the inhabitants who live in a world that exists beneath the earth’s crust. These inhabitants who occupy the underworld exist in a mutable form that allows them to travel through the dense, dark inner landscape of the earth, through the crystal structures, the nickel sea to the earth’s core, an intricate viscous landscape quite other than the formation of matter on the earth’s surface. Calvino’s narration tells us of what is it to inhabit the interstices of the underworld, to be in a space with little intervening air, to live within the deep time scale of crystal formation. The neuroscientist Christof Koch states that ‘we live in a universe where organised bits of matter give rise to consciousness’ and that we need to extend our understanding of what consciousness really is. Could it be that these other worlds, whether planets only just glimpsed through early telescopes, or nano-landscapes at the scale of the atom are still integrated with our own fundamental make-up? Are they the product of a vastly developed pre-frontal cortex or are they a result of ideas, knowledge and experiences accumulated over billions of years? In this article I will look at the concepts of matter as a carrier of consciousness and of panpsychism as a tool with which to understand our habitation of other worlds. (shrink)

In the late 1990s, Alice Sebold is writing what will become her phenomenally successful novel The Lovely Bones (2002), but she finds herself having to abandon it in order to write her critically acclaimed rape memoir Lucky (1999). She did not want, she says years later, Susie Salmon (the novel’s dead narrator) doing “work for her”, but wanted Susie free “to tell her own story”. Lucky would be the “real deal” about rape, while The Lovely Bones would be a fantasy. (...) And yet, the memoir and novel are similar in many respects; and nearly identical to begin with. The Lovely Bones opens with the rape, murder and mutilation of a young girl – Susie – while Lucky opens with reference to the girl who was raped, murdered and mutilated in the tunnel Sebold was also raped in. This girl, Sebold maintains, always haunts her. Thus, I will argue, it is not possible to read her novel, which some critics have dismissed as “timid and sentimental”, without reading her gritty autobiography; and vice versa it is not possible to read Sebold’s rape memoir without reading her novel, which in a complex way bears witness to that unnamed girl, if not for all dead, unnamed girls. The question is, then, how does the intertextuality of Sebold’s novel and memoir, and, more broadly, the interrelationship of truth and fantasy, impact on our reading of Sebold’s work, especially her memoir? Keywords Rape, fact, fiction, truth, lie, reading, writing, creative witnessing, wishful thinking, utopia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:AngloModern: Painting and Modernity in Britain and the United StatesJane DuranAngloModern: Painting and Modernity in Britain and the United States, by Janet Wolff. Ithaca: Cornell University Press, 2003, 172 pp.AngloModern, Janet Wolff's scintillating attempt to limn the construction of modernity in the visual arts, is more than worth reading for a number of reasons. In this work, she details how modernity positioned itself against a number of strands (...) of development, and then, by a process of exclusion, formulated its own stance. As poststructuralist theory has taught us, the procedures of building an excluded body against a center, when closely examined, frequently tell us more about a rubric or label than we could otherwise have imagined.Wolff is primarily concerned with three areas of exclusion/construction for the turn in the visual arts, painting in particular, that began at the opening of the twentieth century. Toward the beginning of the work, she notes that there was always a continuous realist and figurative genre at work even in modernist circles, but it seldom achieved anything like the recognition that the more typically abstract works we associate with the rise of modernism gained. She associates this area of nonrecognition with the work of women in particular, and these two areas alone — the realist/figurative and any work done by a woman artist — constitute two of her most important foci in AngloModern. In addition, and with some difficulty, since it adds a layer of complication, she is concerned about the exclusion and marginalization of Jewish artists during thisperiod — both in galleries and in thecommentary generated by the art world — although it is clear that many of the major "abstract" works associated with modernism were, in fact, produced by Jewish artists.Wolff is at her best in laying out in precise detail how it is that the culture of the art world throws up nearly insurmountable barriers against those deemed unworthy at a fairly early point in the construction of any new movement. The single strongest chapter in the work may well be the second, "Questions of Discovery: the Art of Kathleen McEnery," in which Wolff shows how various processes of categorization kept the work of this extremely talented woman from receiving anything like the recognition it deserved for a long period of time. Wolff sums up her overall project, and how it will relate to an artist such as McEnery, in her Introduction, when she writes:The story of modern art that is challenged [in her book] is the narrative tracing the development of Western painting from France to the United States, in a lineage more or less running from Manet and Post-Impressionism, by way of Cubism and Surrealism, to Abstract Expressionism. It is a story produced and reinforced by critics, academics, curators, and museum directors.(p. 3)Women artists, for example, were frequently excluded not only becausethey were women, but because they may have tended to engage in painting that was more realist, which itself [End Page 118] became coded as "feminine," and so forth. McEnery's intriguing portraits of the early two decades of the twentieth century were "discovered," as Wolff notes for the l987 inaugural exhibition of the National Museum of Women in the Arts, despite the fact that McEnery had at one point been fairly well-known (pp. 41-42). A woman at work in a figurative tradition, and working in suburban circles far away from the geographical centers of the art world, she was quickly at the mercy of the canonical forces of art historical construction.As we attempt to educate our students about rubrics, social movements, and the relationship of the arts to the political events of an era, we can do little better than to cite, for illustrative purposes, a number of interesting cases, and Wolff does just that. In sharp and incisive prose, she not only investigates McEnery's disappearance from the approved version of the early American modernist scene, but she also examines the construction of the early group displayed at the Whitney, the notion of the "feminine" in the work of Simmel and Benjamin, and, finally, the notion of the "Jewish artist." As her exemplar for the... (shrink)

Bioethics, Volume 36, Issue 1, Page 107-108, January 2022.

Eager to change the world? Learn how you can have a greater social impact through your everyday purchases. The money we routinely spend on food, clothes, gifts, and even indulgences is an untapped superpower. What would happen if we slowed down to make more thoughtful decisions about what we buy? For "mom and pop" stores across the country, and artisan and agricultural communities around the world, every purchase matters. Consumers--whether individuals, small businesses, or corporations--are paying more attention than ever to (...) how their goods are made; and retailers--large and small--are responding by investing in ethical and eco-friendly production. Yet figuring out which brands to support can feel overwhelming. Jane Mosbacher Morris has devoted her career to creating economic opportunities for vulnerable communities around the world, and in this valuable book, she shares her passion and insights on how we, as consumers, can create positive change too. Covering topics that range from why not all factories are evil, to how our morning coffee can be the easiest way for us to use our purchasing power for good, Buy the Change You Want to See makes us better informed consumers. Morris tells inspiring stories about how victims of human trafficking and natural disasters have been empowered by economic opportunity, and she offers practical ideas about how we can support these communities through our purchases--whether it comes to jewelry made from recycled materials in Haiti, sustainably grown and ethically sourced coffee and chocolate from farmers in some of the poorest regions of the world, or mass-produced jeans and shoes made in factories where workers are guaranteed decent working conditions and a fair wage. (shrink)

This essay demonstrates, and critiques, the pervasiveness of economic assumptions in the jurisprudence of privacy in US constitutional law as it extends from birth control and abortion rights to the so-called right to die. Finding in these cases metaphors of neoliberal productive practices and the assumption of the self as human capital, the self understood as a site of investment rather than a repository of worth, the essay brings privacy law into conversation with Kristin Luker's empirical work on abortion politics (...) and teenage pregnancy. The essay does not treat the right to die as a moral or political problem to be resolved, but is instead interested in the revelatory character of the jurisprudence of privacy — namely, in what it can tell us about the contemporary political economic order. Are recent developments in contemporary political economy, in the emerging neoliberal order, potentially illiberal? (shrink)

The sexuality of young people arouses controversy and remains a source of concern for parents, teachers, policy-makers and politicians. But what young people really think about sexuality and gender and how these issues impact upon their lives is often marginalized or overlooked. Based upon extensive ethnographic research with young people and teachers, _Sexuality, Gender and Schooling_ offers a telling and insightful account of how young people acquire sexual knowledge and how they enact their understanding of their own gender. It highlights (...) the ways in which young people's constructions of gender and sexuality are formed outside the school curriculum, through engagements with various forms of popular culture - such as teen magazines and television programmes - and through same-sex friendship groups. Offering a fresh perspective on a subject of perennial interest and concern, _Sexuality, Gender and Schooling_ provides accounts from the inside - some of which may challenge and eclipse current approaches to sexuality education. It has significant implications for policy and practice in Personal, Social and Health Education and is also an excellent introduction to key debates and issues in the study of gender and sexuality. (shrink)

Nous formulons et illustrons l’hypothèse que les sites de réseaux socionumériques constituent un mécanisme emblématique de la « société de contrôle » prophétisée par Gilles Deleuze. Au centre de ce dispositif, se retrouve en effet un double mouvement contradictoire : d’une part, le processus de captation capitalistique des informations déposées par les usagers contributeurs − nous pourrions décrire ce premier mouvement comme étant celui d’une surveillance institutionnelle se réalisant par le contrôle centralisé de l’information ; d’autre part, et de manière (...) surprenante, l’on constate un consentement − voire même parfois, un désir − exprimée par de nombreux usagers d’exposer publiquement des informations et des images concernant leur vie personnelle, et cela malgré les risques qui se rattachent à de telles opérations de dévoilement. Ce second mouvement apparaît être le mécanisme central du processus d’intériorisation douce du contrôle social par des usagers pratiquant une forme de « servitude volontaire » rattachée aux besoins du capitalisme informationnel, c’est-à-dire un système dont la production de la valeur économique est fondée sur l’agrégation en bases de données gigantesques et monétisables, des informations déposées sur les sites selon une logique du grand nombre .The hypothesis we put forward and illustrate in this article is that social networking sites have become a mechanism which is emblematic of the “society of control” prophesied by Gilles Deleuze. At its hub are two conflicting movements: one is a capitalistic process of capturing information posted by contributing users, which might be seen as a tendency towards institutional surveillance through centralised data control. The other is the somewhat surprising consent of many users – and even their active desire – for public disclosure of information and images on their private lives, despite the ethical and professional risks attached to these practices of self-disclosure. This second movement seems to be a central mechanism that governs a process of painless internalisation of social control by users, as they consent to a kind of voluntary enslavement to the needs of information capitalism, in other words to a system where the production of economic value is based on aggregating, or “crowdsourcing”, often minuscule items of information into gigantic databases capable of generating money. (shrink)

Philosophy for Everyone begins by explaining what philosophy is before exploring the questions and issues at the foundation of this important subject. Key topics in this new edition and their areas of focus include: Moral philosophy – the nature of our moral judgments and reactions, whether they aim at some objective moral truth, or are mere personal or cultural preferences; and the possibility of moral responsibility given the sorts of things that cause behavior; Political philosophy – fundamental questions about the (...) nature of states and their relationship to the citizens within those states Epistemology – what our knowledge of the world and ourselves consists in, and how we come to have it; and whether we should form beliefs by trusting what other people tell us; Philosophy of mind – what it means for something to have a mind, and how minds should be understood and explained; Philosophy of science – foundational conceptual issues in scientific research and practice, such as whether scientific theories are true; and Metaphysics - fundamental questions about the nature of reality, such as whether we have free will, or whether time travel is possible. This book is designed to be used in conjunction with the free ‘Introduction to Philosophy’ MOOC created by the University of Edinburgh’s _Eidyn_ research centre, and hosted by the Coursera platform.This book is also highly recommended for anyone looking for a short overview of this fascinating discipline. (shrink)

Men and women have always bargained for sex. In Hard Bargains, philosopher-lawyer Linda Hirshman and legal historian Jane Larson provide the first complete analysis of power in heterosexual relationships, combining an eye-opening legal history of sexual regulation with thought-provoking predictions of what the future might bring. Hirshman and Larson tell a riveting tale that spans the centuries--from early accounts of adulterers hanging from the gibbet, to the impact of the Kinsey Reports and Hugh Hefner's playboy philosophy, to the 1960s (...) judge who argued in favor of sex with eleven-year-olds. The book examines the factors that have shaped our notions of sex, from Catholic teaching to the theories of Sigmund Freud, and it explores the Supreme Court decisions of the last few decades that revolutionized the politics of sex. And Hard Bargains not only provides a deep understanding of historical and current disputes, it also offers striking predictions of what sexual bargaining will look like in the future--rape laws replaced by laws of sexual autonomy, adultery subjected to breach of contract action, fornicators responsible for each other's rent, prostitution considered an unfair labor practice. These are a few of the surprising--and surprisingly workable--solutions the authors foresee in the 21st century. Hard Bargains takes a forthright and level-headed look at all aspects of one of the biggest controversies in contemporary American society--heterosexual sex--and delivers a radically new perspective on the sexual lives of women and men. (shrink)

In Telling Flesh, Vicki Kirby addresses a major theoretical issue at the intersection of the social sciences and feminist theory -- the separation of nature from culture. Kirby focuses particularly on postmodern approaches to corporeality, and explores how these approaches confine the body within questions about meaning and interpretation. Kirby explores the implications of this containment in the work of Jane Gallop, Judith Butler, and Drucilla Cornell, as well as in recent cyber-criticism. By analysing the inadvertent repetition of the (...) nature/culture division in this work, Kirby offers a powerful reassessment of dualism itself. (shrink)

The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...) about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)

"This book tells the story of how Jane Addams, during her first decade at Hull House, used social evolutionary thinking to develop a method of ethical deliberation. Addams presented her method for addressing the most troubling social problems of the era in Democracy and Social Ethics, a foundational text of classical American pragmatism."--Provided by publisher.

Some people, they like to go out dancing And other peoples, they have to work And there’s even some evil mothers Well they’re gonna tell you that everything is just dirt You know, that women, never really faint And that villains always blink their eyes And that, children are the only ones who really blush And that, life is just to die. And, everyone who had a heart, They wouldn’t turn around and break it And that everyone who played a (...) part Oh wouldn’t turn around and hate it. – Lou Reed, “Sweet Jane”. (shrink)

It must be admitted that there are some of us who “teach” Virginia Woolf and yet seem unable to learn from her. The secret of Virginia’s eminently readable prose style remains hidden from us. It is for this reason that I find it impossibly hard to read everything that Professor Marcus and some of her colleagues produce in such astounding abundance, and that, she may retort, is why she has found it impossible to read my biography of Virginia Woolf. In (...) a sense, she does not need to; she can imagine it and, thus, credit me with the statement that I considered my aunt “a minor British novelist, ranked somewhere below E. M. Forster as a writer of fiction” . Seeing that I made it clear from the outset of that biography that I would not attempt to assess the work of Virginia Woolf, seeing that I have been blamed for this abstention , and seeing that I have said absolutely nothing at any time that could possibly be construed in this sense, I think that we may well call this a master-stroke of the imagination.Also it is irrelevant. I accuse her of inaccuracy; she “replies” by asserting that I have bad taste. It seems a rather unconvincing form of defence. In fact, in her “reply,” which must be about as long as the article by which it was engendered, Professor Marcus can find so little in the way of evidence or argument with which to support those contentions which I have criticized that the reader must wade through page after page of completely otiose matter before coming to anything which seems to bear on the matter at hand. At last Professor Marcus tells us that she has written “two long essays in which I did at length and in detail exactly what he does here”; here, then, we come to her answer . The reader, who may be somewhat bewildered by so long a preface, may wish to be reminded what there is that needs to be answered. I maintain that Professor Marcus has neglected to notice that Margaret Llewelyn Davis was primarily Leonard Woolf’s friend rather than Virginia’s, that her relationship with Virginia was at times very uneasy, that Virginia was out of sympathy with politically minded women, and that Professor Marcus neglects to notice any of this because she fails to use the evidence of the diaries and the letters. When she does quote from a letter, she completely misunderstands it, just as she fails to understand Virginia’s use of the term “the woman’s republic” . Quentin Bell is the author of, among other works, Ruskin , Bloomsbury , Virginia Woolf: A Biography , and On Human Finery . His previous contributions to Critical Inquiry include “Art and the Elite” , “Bloomsbury and ‘the Vulgar Passions’” , and “A ‘Radiant’ Friendship”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetics and Humean Aesthetic Norms in the Novels of Jane AustenEva M. Dadlez (bio)IntroductionThe eighteenth century, Paul Oskar Kristeller tells us, in addition to crystallizing what we now call the fine arts, is also marked by an increased lay interest both in the arts and in criticism.1 Amateurs as well as philosophers ventured critical commentary on the arts. Talk concerning taste or beauty or the sublime was so (...) much a part of general discourse that even novelists of that era incorporated such subjects in their work. Henry Fielding "was able to construct a novel on the true and false sublime in art," according to Samuel Monk, "and to draw an analogy between the sublime in art and the sublime in character."2 So we shouldn't find it surprising that perspectives on aesthetics are sometimes presented in the novels of Jane Austen.3 This subject matter ranges from descriptions of skill in the execution and sensitivity in the appreciation of particular arts to general observations about beauty and taste and what is requisite for the apprehension of the former and the possession of the latter.Consider the following catalog of arts and beauties. Mansfield Park, Sense and Sensibility, and Northanger Abbey contain many references to the beauties of nature, both cultivated and wild. Taste in music is a topic in Persuasion, Mansfield Park, Pride and Prejudice, and Lady Susan. A taste for poetry and literature is the lot of the heroines of Persuasion, Northanger Abbey, Mansfield Park, and Sense and Sensibility. Taste and talent for drawing is exhibited by characters in Sense and Sensibility, Emma, and Northanger Abbey. Both Sense and Sensibility and Mansfield Park contain discussions of the merits of effective reading, that is, reading well aloud. Mansfield Park even comments on [End Page 46] acting ability, albeit rather disapprovingly. More general reflections on taste and beauty, as well as their connection to morality, are equally typical.It is possible to venture several different arguments about the philosophical perspective into which such observations best fit. Kantian analyses have already been ventured in the literature. Anne Crippen Ruderman calls our attention to the Kantian flavor of the connection Austen draws between a sensitivity to natural beauty and one's moral disposition, for instance, and David Kaufman compares Austen to Kant, though primarily in regard to ethics.4 Nonetheless, in this article I will argue that the strongest correlations and correspondences are in fact between Austen's and Hume's positions on aesthetics. Evidence in support of a Kantian analysis will first be canvassed and later compared with claims in favor of a Humean alternative.I will establish that the positions on taste and beauty and delicacy that are explicitly stated in or can be inferred from Austen's novels fit a Humean model—and fit it with a fair degree of precision. In doing so, I hope to demonstrate a correspondence strong enough to serve as the staging area for the further speculations that constitute the second thesis of this article. A great deal has already been said by philosophers about the capacity of literature to elicit moral reactions from the reader. Fictions can present ethical endorsements and invite us to adopt ethical perspectives by making it true in the world of the work that some course of action is right or some character is laudable. They can do this not by telling us that an act is right or a person meritorious but by showing us the rightness of the action and the commendability of the individual—by asking us to imagine traits that call forth our own approval and commendation. I will contend that aesthetic norms can be treated in much the same way as moral norms. That is, I will claim that the fiction of Jane Austen, in addition to evidencing the conscription of a Humean aesthetic, so engages and educates us that we are led imaginatively to adopt certain aesthetic perspectives in the course of its contemplation: not just by being told what is aesthetically pleasing or commendable, but by being made to feel pleasure and to experience commendation; not just by being told what constitutes discriminating taste, but by being led... (shrink)

"It is well to remind ourselves, from time to time, that "Ethics" is but another word for "righteousness," that for which many men and women of every generation have hungered and thirsted, and without which life becomes meaningless. Certain forms of personal righteousness have become to a majority of the community almost automatic. But we all know that each generation has its own test, the contemporaneous and current standard by which alone it can adequately judge of its own moral achievements. (...) To attain individual morality in an age demanding social morality, to pride one's self on the results of personal effort when the time demands social adjustment, is utterly to fail to apprehend the situation. This book is a study of various types and groups who are being impelled by the newer conception of Democracy to an acceptance of social obligations involving in each instance a new line of conduct."--. (shrink)

In _Vibrant Matter_ the political theorist Jane Bennett, renowned for her work on nature, ethics, and affect, shifts her focus from the human experience of things to things themselves. Bennett argues that political theory needs to do a better job of recognizing the active participation of nonhuman forces in events. Toward that end, she theorizes a “vital materiality” that runs through and across bodies, both human and nonhuman. Bennett explores how political analyses of public events might change were we (...) to acknowledge that agency always emerges as the_ _effect of ad hoc configurations of human and nonhuman forces. She suggests that recognizing that agency is distributed this way, and is not solely the province of humans, might spur the cultivation of a more responsible, ecologically sound politics: a politics less devoted to blaming and condemning individuals than to discerning the web of forces affecting situations and events. Bennett examines the political and theoretical implications of vital materialism through extended discussions of commonplace things and physical phenomena including stem cells, fish oils, electricity, metal, and trash. She reflects on the vital power of material formations such as landfills, which generate lively streams of chemicals, and omega-3 fatty acids, which can transform brain chemistry and mood. Along the way, she engages with the concepts and claims of Spinoza, Nietzsche, Thoreau, Darwin, Adorno, and Deleuze, disclosing a long history of thinking about vibrant matter in Western philosophy, including attempts by Kant, Bergson, and the embryologist Hans Driesch to name the “vital force” inherent in material forms. Bennett concludes by sketching the contours of a “green materialist” ecophilosophy. (shrink)

"It is well to remind ourselves, from time to time, that "Ethics" is but another word for "righteousness," that for which many men and women of every generation have hungered and thirsted, and without which life becomes meaningless. Certain forms of personal righteousness have become to a majority of the community almost automatic. But we all know that each generation has its own test, the contemporaneous and current standard by which alone it can adequately judge of its own moral achievements. (...) To attain individual morality in an age demanding social morality, to pride one's self on the results of personal effort when the time demands social adjustment, is utterly to fail to apprehend the situation. This book is a study of various types and groups who are being impelled by the newer conception of Democracy to an acceptance of social obligations involving in each instance a new line of conduct."--. (shrink)

The Aesthetics of Design offers the first full treatment of design in the field of philosophical aesthetics, challenging the discipline to broaden its scope to include the quotidian objects and experiences of our everyday lives and concerns ...

A paradigm for peace discovered in the cosmopolitan neighborhoods of poor urban immigrants.

This is part of a complete set of Jane Austen's novels collating the editions published during the author's lifetime and previously unpublished manuscripts. The books are illustrated with 19th century plates and incorporate revisions by experts in the light of subsequent research.

A century ago, John Dewey remarked that when home changes radically, school must change as well. With home, family, and gender roles dramatically altered in recent years, we are faced with a difficult problem: in the lives of more and more American children, no one is home. The Schoolhome proposes a solution. Drawing selectively from reform movements of the past and relating them to the unique needs of today's parents and children, Jane Martin presents a philosophy of education that (...) is responsive to America's changed and changing realities. As more and more parents enter the workforce, the historic role of the domestic sphere in the education and development of children is drastically reduced. Consequently, Martin advocates removing the barriers between the school and the home--making school a metaphorical "home," a safe and nuturant environment that provides children with the experience of affection and connection otherwise missing or inconsistent in their lives. In this proposition, the traditional schoolhouse where children are drilled in the three Rs is transformed into a "schoolhome" where learning is animated by an ethic of social awareness. At a time when many school reformers are calling for a return to basics and lobbying for skills education and quick-fix initiatives, Martin urges us to reconsider the distinctive legacies of Dewey and Montessori and to conceive of a school that integrates the values of the home with those of social responsibility. With cultural diversity and gender equality among its explicit goals, the schoolhome expands upon Dewey's edict to educate the "whole child," seeking instead to educate all children in the culture's whole heritage. Martin eloquently challenges reformers to reclaim the founding fathers' vision of the nation as a domestic realm, and to imagine a learning environment whose curriculum and classroom practice reflect not merely an economic but a moral investment in the future of our children. More than a summons to action, this remarkable book is a call to rethink the assumptions we bring to the educational enterprise, and so, to act wisely. (shrink)

This paper examines how Charlotte Brontë's belief in phrenology influences the narration of her novel Jane Eyre. Phrenology was a nineteenth-century belief that the shape of the skull could give information about a person's temperament. Phrenologists speculated that the brain was split into separate parts, or faculties, that defined the individual's ability to feel a particular emotion. A bump on the skull implied that the faculty underneath that part of the skull was bigger, so the individual was more inclined (...) to feel that emotion. By placing Jane Eyre within the historical context of the rise of phrenology, I explore the ways in which Brontë's phrenological representation of Jane's mind informs and parallels the autodiegetic narration of Jane Eyre. My analysis focuses on moments when Jane draws attention to the fact that she is a first-person narrator telling the story of her own past experiences. I argue that these moments are comparable to those when Jane’s experiencing-self is fractured into phrenological faculties. Concomitantly, I seek to trace how Jane's narration changes as she moves between the locations of Thornfield, the Moor House, and Ferndean. I suggest that the shifts in narration draw attention to these locations as metaphors for varying degrees of restriction on Jane's faculties. Through an application of nineteenth-century psychological studies, I conclude that Brontë uses her narration style to criticize phrenologists who promote an unnaturally restrictive control of the faculties. (shrink)

A longstanding problem in the teacher workforce, internationally and in the UK, is the continuing and substantial numbers of qualified teachers who leave the profession within five years. This paper uses data collected from a survey to the last five years of teacher education graduates of UCL Institute of Education (IOE) in London, to explore what originally motivated them to teach, and the reasons why they have left or may consider leaving in the future. We discovered that despite claiming to (...) be aware of the challenges of workload before entering teaching, workload was the most frequently cited reason for having left, or for leaving in the future. The data spoke to the reality of teaching being worse than expected, and the nature (rather than the quantity) of the workload, linked to notions of performativity and accountability, being a crucial factor. This paper draws on a substantial new source of data and explores reasons for leaving in the context of reported initial motivation of individuals who have left teaching, individuals who are planning to leave and individuals who are planning to stay in teaching. (shrink)

The tales they shared with Addams in the wake of the Devil Baby were more personal and revealing than any they had previously told her: stories of abusive mates ...

In _influx & efflux_ Jane Bennett pursues a question that was bracketed in her book _Vibrant Matter_: how to think about human agency in a world teeming with powerful nonhuman influences? “Influx _& _efflux”—a phrase borrowed from Whitman's "Song of Myself"—refers to everyday movements whereby outside influences enter bodies, infuse and confuse their organization, and then exit, themselves having been transformed into something new. How to describe the human efforts involved in that process? What kinds of “I” and “we” (...) can live well and act effectively in a world of so many other lively materialities? Drawing upon Whitman, Thoreau, Caillois, Whitehead, and other poetic writers, Bennett links a nonanthropocentric model of self to a radically egalitarian pluralism and also to a syntax and style of writing appropriate to the entangled world in which we live. The book tries to enact the uncanny process by which we “write up” influences that pervade, enable, and disrupt us. (shrink)

A comforting, gentle introduction to the concept of God for young children.

ABSTRACT This paper examines some arguments which deny the existence of an individual right to remain ignorant about genetic information relating to oneself – often referred to as ‘a right to genetic ignorance’ or, more generically, as ‘a right not to know’. Such arguments fall broadly into two categories: 1) those which accept that individuals have a right to remain ignorant in self‐regarding matters, but deny that this right can be extended to genetic ignorance, since such ignorance may be harmful (...) to others, particularly those to whom one is genetically related (the ‘harm to others objection’) and 2) those which contend that, even if genetic ignorance is only self harming, it is not something to which individuals can rationally or morally claim to have a ‘right’ at all, since they defend their claims on autonomy‐respecting grounds and ignorance is inimical to autonomy (the ‘incoherence objection’). I argue that defenders of a right not to know have some plausible responses to the ‘harm to others objection’, but that in trying to respond to the ‘incoherence objection’, they and their opponents reach an impasse in which both sides are left voicing concerns about the paternalistic implications of the other's point of view. I conclude that defenders of a right not to know would, therefore, advance their position further by analysing it in terms of values other than those of autonomy and rights. (shrink)