Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with (...) these kinds of questions. This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions: How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition? What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner ? How are memory, empathy, and moral agency related in Blade Runner ? How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance? Is Blade Runner a meditation on the nature of film itself? Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies. Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve. (shrink)

The COVID-19 pandemic has raised a host of ethical challenges, but key among these has been the possibility that health care systems might need to ration scarce critical care resources. Rationing p...

Cognitive Science, Volume 46, Issue 1, January 2022.

A novel Protocol Ethics Tool Kit (‘Ethics Tool Kit’) has been developed by a multi-stakeholder group of the Multi-Regional Clinical Trials Center of Brigham and Women9s Hospital and Harvard. The purpose of the Ethics Tool Kit is to facilitate effective recognition, consideration and deliberation of critical ethical issues in clinical trial protocols. The Ethics Tool Kit may be used by investigators and sponsors to develop a dedicated Ethics Section within a protocol to improve the consistency and transparency between clinical trial (...) protocols and research ethics committee reviews. It may also streamline ethics review and may facilitate and expedite the review process by anticipating the concerns of ethics committee reviewers. Specific attention was given to issues arising in multinational settings. With the use of this Tool Kit, researchers have the opportunity to address critical research ethics issues proactively, potentially speeding the time and easing the process to final protocol approval. (shrink)

Biomedical and behavioral research is a complex, multidisciplinary, and highly varied enterprise with but a single goal: to produce and disseminate knowledge about the causes, effects, prevention, diagnosis, and treatment of human illnesses and impairments. Success requires public trust in the process. When that trust has been shaken (or worse), the response has been to establish offices to exercise oversight of the various actors and to require them to adhere to regulations that specify, with various levels of detail, what they (...) may or may not do.The two regulatory frameworks examined in this report by Barbara Bierer and Mark Barnes began separately, provoked by different scandals and abuses of public trust. (shrink)

When thinking about the intersection of care and Christian bioethics, it is helpful to follow closely the account of Ruth, who turned away from security and walked alongside her grieving mother-in-law to Bethlehem. Remembering Ruth may help one to heed Professor Kaveny?s summoning of Christians to remember ?the Order of Widows? and the church?s historic calling to bring ?the almanahinto its center rather than pushing her to its margins.? Disabled, elderly and terminally ill people often seem, at least implicitly, expendable. (...) By hearing the scriptural account of Jesus? steadfast great-grandmother, readers may recall another way. One may read Ruth?s care for Naomi as a performative, prophetic act of faith. Ruth?s faithful resolve, when set next to Orpah?s prudent way, challenges the notion that a bioethic of care is innately feminine, and may further call women and men corporately to participate in a kind of care that is strenuous work. My thanks to Cathleen Kaveny for allowing me to play off the title of her insightful essay. Thanks also to Willie James Jennings, whose 1998 baccalaureate sermon on Ruth inspired and much informed this essay. I wish also to thank Ellen Davis, who taught me to read Hebrew, and to read Ruth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Human Genome ProjectSharon J. Durfy (bio) and Amy E. Grotevant (bio)In recent years, scientists throughout the world have embarked upon a long-term biological investigation that promises to revolutionize the decisions people make about their lives and lifestyles, the way doctors practice medicine, how scientists study biology, and the way we think of ourselves as individuals and as a species. It is called the Human Genome Project, and its (...) ultimate goal is to map and determine the chemical sequence of the three billion nucleotide base pairs that comprise the human genome. The feat is expected to take about fifteen years (see General Surveys).These three billion base pairs include an estimated 50,000 to 100,000 genes. The rest of the genome—perhaps 95 percent of it—is nongenic sequences with unknown function, sometimes called "junk." Determining the order and organization of all this material has been likened to tearing six volumes of the Encyclopaedia Brittanica into pieces, then trying to put it all back together to read the information (Surveys: Hall 1990). The effort could be well worth it, many scientists say, because it is expected to yield major insights into many common and complex diseases, including cancer, cardiovascular disease, and Alzheimer's disease (Debate: Dulbecco 1986; Koshland 1989).The Human Genome Project is not without controversy, however (Debate: Davis 1990; Leder 1990; Rechsteiner 1990). Many scientists fear that funding for it will be diverted from other areas of research, rather than obtained from new funding sources. This has enlivened the debate about the relative value of "big" versus "small" science. Also, the value of undertaking a complete sequencing of the genome has been questioned, especially given the high proportion of non-genic sequences.Advocates of the effort converted many critics by making two alterations in the original plan. Plans were included to simultaneously determine the nucleotide sequence of the genomes of other organisms; this provides comparisons and points of reference for the human sequence (U.S.: NIH/DOE 1990). Second, in response to concerns about the high cost of developing technology to sequence the whole [End Page 347] genome, the focus moved from large-scale sequencing to mapping the genome, which would hasten the search for disease genes (U.S.: NIH/DOE 1990).The ideal map would be both genetic, locating DNA markers, or signposts, at closely spaced intervals along the chromosomes, and physical, indicating the exact distance between these markers (Map: McKusick 1991). Since 1973, Human Gene Mapping workshops (HGM) have been held at least every two years to locate, compare, and compile genetic markers. This information is published and is accessible through Genome Database at Johns Hopkins University (McKusick 1991). The most recent Human Genome Mapping workshop was held in August 1991, at which the Human Genome Organization (HUGO) began to assume increased responsibility for coordination of the international mapping effort (Surveys: Maddox 1991).Historical Background of the United States EffortThe first serious discussions about sequencing the entire human genome occurred at a workshop at the University of California at Santa Cruz in 1985 (U.S.: Sinsheimer 1989). A second workshop, organized by the U.S. Department of Energy (DOE) and held in March 1986, addressed the feasibility of an organized program (U.S.: DOE 1986). Shortly thereafter, DOE instituted its own genome project (U.S.: DOE 1987). Reports in early 1988 from both the National Research Council (NRC) of the National Academy of Sciences (NAS) and Congress' Office of Technology Assessment (OTA) (U.S.: NRC 1988; OTA 1988) served as catalysts, and in fiscal year 1988, the U.S. Congress officially launched the Human Genome Project by appropriating funds to both the Department of Energy and the National Institutes of Health (NIH).To avoid potential congressional "meddling" (U.S.: Roberts 1988), NIH and DOE drafted a memorandum of understanding for interagency coordination in October 1988 (U.S.: NIH/DOE 1990). The agencies then created both separate and joint committees, and working groups to administer the project. NIH established the Office of Human Genome Research in 1988 (directed by James D. Watson) to plan and coordinate NIH genome activities. That office has evolved into the National Center for Human Genome Research (NCHGR... (shrink)

The Thin Red Line is the third feature-length film from acclaimed director Terrence Malick, set during the struggle between American and Japanese forces for Guadalcanal in the South Pacific during World War Two. It is a powerful, enigmatic and complex film that raises important philosophical questions, ranging from the existential and phenomenological to the artistic and technical. This is the first collection dedicated to exploring the philosophical aspects of Malick’s film. Opening with a helpful introduction that places the film in (...) context, five essays, four of which were specially commissioned for this collection, go on to examine the following: the exploration of Heideggerian themes – such as being-towards-death and the vulnerability of Dasein’s world – in The Thin Red Line how Malick’s film explores and cinematically expresses the embodied nature of our experience of, and agency in, the world Malick’s use of cinematic techniques, and how the style of his images shapes our affective, emotional, and cognitive responses to the film the role that images of nature play in Malick’s cinema, and his ‘Nietzschean’ conception of human nature. The Thin Red Line is essential reading for students interested in philosophy and film or phenomenology and existentialism. It also provides an accessible and informative insight into philosophy for those in related disciplines such as film studies, literature and religion. Contributors: Simon Critchley, Hubert Dreyfus and Camilo Prince, David Davies, Amy Coplan, Iain Macdonald. (shrink)

Is ontologizing about art rightly held accountable to artistic practice, and, if so, how? Julian Dodd argues against such accountability. His target is “local descriptivism,” a meta-ontological principle that he contrasts with meta-ontological realism. The local descriptivist thinks that folk-theoretic beliefs implicit in our practices somehow determine the ontological characters of artworks. I argue, however, that according a grounding role to artistic practice in the ontology of art does not conflict with meta-ontological realism. Practice must ground our ontological inquiries because (...) our task is to make sense of the practices into which artworks enter. Terms like ‘musical work,’ as employed by the ontologist, play an essentially explanatory role in this endeavor, and it is only in terms of this role that we can specify the object of our ontological inquiries. But neither our practices nor our folk beliefs are sacrosanct. In taking ontology of art to be reflectively accountable to artistic practice, I also reject Amie Thomasson's claim that it involves conceptual analysis and therefore cannot rightly claim to be directly revisionary of folk understandings. Ontology of art involves not conceptual analysis but the codification of a practice in a way that clarifies that practice. (shrink)

Souvenir heureux : il y a trente ans, Ida Blom et moi-même réussissions à fonder la Fédération internationale pour la recherche en histoire des femmes (FIRHF/IFRWH) puis à l’affilier au Comité international des sciences historiques (CISH), comme commission interne. Nous avions reçu l’assistance stratégique de Ruth Roach Pierson (Canada), Gisela Bock (Allemagne), Sølvi Sogner (Norvège), ainsi que celle, fondamentale, de Natalie Zemon Davis (alors présidente de l’American Historical Association...

There is growing debate about what is the correct methodology for research in the ontology of artworks. In the first part of this essay, I introduce my view: I argue that semantic descriptivism is a semantic approach that has an impact on meta-ontological views and can be linked with a hermeneutic fictionalist proposal on the meta-ontology of artworks such as works of music. In the second part, I offer a synthetic presentation of the four main positive meta-ontological views that have (...) been defended in philosophical literature about artworks and of some criticisms that can be lodged against them: Amie Thomasson’s global descriptivism, Andrew Kania’s local descriptivism, Julian Dodd’s folk-theoretic modesty, and David Davies’ rational accountability view. In the conclusion, I show the advantages of my view. (shrink)

Introduction : the politics of our selves -- Foucault, subjectivity, and the enlightenment : a critical reappraisal -- The impurity of practical reason : power and autonomy in Foucault -- Dependency, subordination, and recognition : Butler on subjection -- Empowering the lifeworld? autonomy and power in Habermas -- Contextualizing critical theory -- Engendering critical theory.

This philosophical treatise on the foundations of semantics is a systematic effort to clarify, deepen and defend the classical doctrine that words are conventional signs of mental states, principally thoughts and ideas, and that meaning consists in their expression. This expression theory of meaning is developed by carrying out the Gricean programme, explaining what it is for words to have meaning in terms of speaker meaning, and what it is for a speaker to mean something in terms of intention. But (...) Grice's own formulations are rejected and alternatives developed. The foundations of the expression theory are explored at length, and the author develops the theory of thought as a fundamental cognitive phenomenon distinct from belief and desire, argues for the thesis that thoughts have parts, and identifies ideas or concepts with parts of thoughts. This book will appeal to students and professionals interested in the philosophy of language. (shrink)

Contents: 1) Peter Kung, Why We Need Something Like Imagery; 2) Derek Lam, An Imaginative Person’s Guide to Objective Modality; 3) Rebecca Hanrahan, Crossing Rivers: Imagination and Real Possibilities; 4) Michael Omoge, Imagination, Metaphysical Modality, and Modal Psychology; 5) Joshua Myers, Reasoning with Imagination; 6) Franz Berto, Equivalence in Imagination; 7) Christopher Badura, How Imagination Can Justify; 8) Antonella Mallozzi, Imagination, Inference, and Apriority; 9) Margherita Arcangeli, Narratives and Thought Experiments: Restoring the Role of Imagination; 10) Margot Strohminger, Two Ways (...) of Imagining Galileo’s Experiment; 11) Eric Peterson, Attention to Details: Imagination, Attention, and Epistemic Significance; 12) Amy Kind, Bridging the Divide: Imagining Across Experiential Perspectives; 13) Julia Langkau, On Imagining Being Someone Else; 14) Luke Roelofs, “Imagine If They Did That to You!”: The Complexity of Empathy; 15) Nick Wiltsher and Bence Nanay, Imagination, Selves, and Knowledge of Self: Pessoa’s Dreams in The Book of Disquiet . (shrink)

Does critical theory still need psychoanalysis? In Critique on the Couch, Amy Allen offers a cogent and convincing defense of its ongoing relevance. Countering the overly rationalist and progressivist interpretations of psychoanalysis put forward by contemporary critical theorists such as Jürgen Habermas and Axel Honneth, Allen argues that the work of Melanie Klein offers an underutilized resource. She draws on Freud, Klein, and Lacan to develop a more realistic strand of psychoanalytic thinking that centers on notions of loss, negativity, ambivalence, (...) and mourning. Far from leading to despair, such an understanding of human subjectivity functions as a foundation of creativity, productive self-transformation, and progressive social change. At a time when critical theorists are increasingly returning to psychoanalytic thought to diagnose the dysfunctions of our politics, this book opens up new ways of understanding the political implications of psychoanalysis while preserving the progressive, emancipatory aims of critique. (shrink)

What is consciousness and why is it so philosophically and scientifically puzzling? For many years philosophers approached this question assuming a standard physicalist framework on which consciousness can be explained by contemporary physics, biology, neuroscience, and cognitive science. This book is a debate between two philosophers who are united in their rejection of this kind of "standard" physicalism - but who differ sharply in what lesson to draw from this. Amy Kind defends dualism 2.0, a thoroughly modern version of dualism (...) (the theory that there are two fundamentally different kinds of things in the world: those that are physical and those that are mental) decoupled from any religious or non-scientific connotations. Daniel Stoljar defends non-standard physicalism, a kind of physicalism different from both the standard version and dualism 2.0. The book presents a cutting-edge assessment of the philosophy of consciousness and provides a glimpse at what the future study of this area might bring. (shrink)

Over a career spanning nearly seven decades, Jürgen Habermas - one of the most important European philosophers of the twentieth and twenty-first centuries - has produced a prodigious and influential body of work. In this Lexicon, authored by an international team of scholars, over 200 entries define and explain the key concepts, categories, philosophemes, themes, debates, and names associated with the entire constellation of Habermas's thought. The entries explore the historical, philosophical and social-theoretic roots of these terms and concepts, as (...) well as their intellectual and disciplinary contexts, to build a broad but detailed picture of the development and trajectory of Habermas as a thinker. The volume will be an invaluable resource for students and scholars of Habermas, as well as for other readers in political philosophy, political science, sociology, international relations, cultural studies, and law. (shrink)

Feminist theory needs both explanatory-diagnostic and anticipatory-utopian moments in order to be truly critical and truly feminist. However, the explanatory-diagnostic task of analyzing the workings of gendered power relations in all of their depth and complexity seems to undercut the very possibility of emancipation on which the anticipatory-utopian task relies. In this paper, I take this looming paradox as an invitation to rethink our understanding of emancipation and its relation to the anticipatory-utopian dimensions of critique, asking what conception of emancipation (...) is compatible with a complex explanatory-diagnostic analysis of contemporary gender domination as it is intertwined and entangled with race, class, sexuality, and empire. I explore this question through an analysis of two specific debates in which the paradoxical relationship between power and emancipation emerges in particularly salient and seemingly intractable forms: debates over subjection and modernity. Drawing on the work of Michel Foucault, I argue that a negativistic conception of emancipation offers the best way for feminist critical theory to transform the paradox of power and emancipation into a productive tension that can fuel critique. (shrink)

As persons, we are importantly different from all other creatures in the universe. But in what, exactly, does this difference consist? What kinds of entities are we, and what makes each of us the same person today that we were yesterday? Could we survive having all of our memories erased and replaced with false ones? What about if our bodies were destroyed and our brains were transplanted into android bodies, or if instead our minds were simply uploaded to computers? -/- (...) In this engaging and accessible introduction to these important philosophical questions, Amy Kind brings together three different areas of research: the nature of personhood, theories of personal identity over time, and the constitution of self-identity. Surveying the key contemporary theories in the philosophical literature, Kind analyzes and assesses their strengths and weaknesses. As she shows, our intuitions on these issues often pull us in different directions, making it difficult to develop an adequate general theory. Throughout her discussion, Kind seamlessly interweaves a vast array of up-to-date examples drawn from both real life and popular fiction, all of which greatly help to elucidate this central topic in metaphysics. -/- A perfect text for readers coming to these issues for the first time, Persons and Personal Identity engages with some of the deepest and most important questions about human nature and our place in the world, making it a vital resource for students and researchers alike. (shrink)

This paper discusses the current fashion for brain-based learning, in which value-laden claims about learning are grounded in neurophysiology. It argues that brain science cannot have the ‘authority’ about learning that some seek to give it. It goes on to discuss whether the claim that brain science is relevant to learning involves a category mistake. The heart of the paper tries to show how the contribution of brain science to our grasp of the nature of learning is limited in principle. (...) Finally the paper explores the potential of brain science to illuminate specific learning disabilities. (shrink)

A longstanding problem with the study of empathy is the lack of a clear and agreed upon definition. A trend in the recent literature is to respond to this problem by advancing a broad and all-encompassing view of empathy that applies to myriad processes ranging from mimicry and imitation to high-level perspective taking. I argue that this response takes us in the wrong direction and that what we need in order to better understand empathy is a narrower conceptualization, not a (...) broader one. I propose that empathy be conceptualized as a complex, imaginative process through which an observer simulates another person's situated psychological states while maintaining clear self–other differentiation. I defend my view through an examination of three processes: emotional contagion, a process of self-oriented perspective taking that I call “pseudo-empathy,” and empathy proper. Drawing on recent findings in social neuroscience, I highlight the differences among these processes and discuss conceptual, empirical, and normative reasons for keeping them theoretically and conceptually distinct. (shrink)

A collection of essays on the work of Latin American philosopher Enrique Dussel, focusing on his ethics of liberation.

Philosopher Rene Descartes visualized a world unified by mathematics, in which all intellectual issues could be resolved rationally by local computation. This series of provocative essays takes a modern look at the seventeenth-century thinker’s dream, examining the physical and intellectual influences of mathematics on society, particularly in light of technological advances. They survey the conditions that elicit the application of mathematic principles; the effectiveness of these applications; and how applied mathematics constrain lives and transform perceptions of reality. Highly suitable for (...) browsing, the essays require different levels of mathematical knowledge that range from popular to professional. 1987 ed. (shrink)

A vision of a living code of ethics is proposed to counter the emphasis on negative phenomena in the study of organizational ethics. The living code results from the harmonious interaction of authentic leadership, five key organizational processes (attraction–selection–attrition, socialization, reward systems, decision-making and organizational learning), and an ethical organizational culture (characterized by heightened levels of ethical awareness and a positive climate regarding ethics). The living code is the cognitive, affective, and behavioral manifestation of an ethical organizational identity. We draw (...) on business ethics literature, positive organizational scholarship, and management literature to outline the elements of positive ethical organizations as those exemplary organizations consistently practicing the highest levels of organizational ethics. In a positive ethical organization, the right thing to do is the only thing to do. (shrink)

This essay provides a critical overview of the debate about corporate moral responsibility. Parties to the debate address whether corporations are the kinds of entities that can be blamed when they cause unjustified harm. Proponents of CMR argue that corporations satisfy the conditions for moral agency and so they are fit for blame. Their opponents respond that corporations lack one or more of the capacities necessary for moral agency. I review the arguments on both sides and conclude ultimately that what (...) divides the two is not so much competing conceptions of the corporation as it is disagreement about what moral agency requires. Homing in on the real site of contention will, it is hoped, allow future participants in the debate to focus their efforts more productively. (shrink)

The novel COVID-19 pandemic has placed medical triage decision-making in the spotlight. As life-saving ventilators become scarce, clinicians are being forced to allocate scarce resources in even the wealthiest countries. The pervasiveness of air travel and high rate of transmission has caused this pandemic to spread swiftly throughout the world. Ethical triage decisions are commonly based on the utilitarian approach of maximising total benefits and life expectancy. We present triage guidelines from Italy, USA and the UK as well as the (...) Jewish ethical prospective on medical triage. The Jewish tradition also recognises the utilitarian approach but there is disagreement between the rabbis whether human discretion has any role in the allocation of scarce resources and triage decision-making. (shrink)

1. Introduction: 1.1 Difficulties of Approach; 1.2 Philosophical Background. 2. The Context of Early Modern Theories of the Passions: 2.1 Changing Vocabulary; 2.2 Taxonomies; 2.3 Philosophical Issues in Theories of the Emotions. SUPPLEMENTARY DOCUMENTS: Ancient, Medieval and Renaissance Theories of the Emotions; Descartes; Hobbes; Malebranche; Spinoza; Shaftsbury; Hutcheson; Hume.

Book Abstract -/- A Case for Necessitarianism Amy Karofsky orcid: 0000-0003-4397-4203 -/- The book provides a case for and explanation of necessitarianism—the view that absolutely nothing about the world could have been otherwise in any way whatsoever—and a refutation of contingentarianism—the view that at least some thing could have been different otherwise. Because it is the first defense of necessitarianism in over 300 years, it fills a significant gap in Western philosophical literature. -/- The book is aimed at upper-level undergraduate (...) and graduate students in philosophy and philosophers interested in the metaphysics of modality. As it is the only contemporary defense of necessitarianism, this will be the first time that such readers will be able to consider a comprehensive account and support of the necessitarian position and its merits. It may also affect a change in philosophical thought—one that would move philosophy towards a more realistic and scientific explanation of the universe and everything in it. -/- The book contains an Introduction that explains key terms and four chapters. Chapter 1 shows that there is inadequate justification for contingentarianism; Chapter 2 proves that no theory of contingentarianism can succeed; Chapter 3 provides support for necessitarianism; and Chapter 4 responds to objections. (shrink)

Questions central to the ontology of art include the following: what sort of things are works of art? Do all works of art belong to any one basic ontological category? Do all or only some works have multiple instances? Do works have parts or constituents, and if so, what is their relation to the work as a whole? How are particular works of art individuated? Are they created or discovered? Can they be destroyed? Explicit and extensive treatments of these topics (...) written prior to the 19th century have yet to be found. This does not mean, however, that there is nothing relevant to these ontological questions in early writings on beauty, the arts, and related matters. For example, Aristotle's claims about the functions and elements of tragedy can be mined for ideas about the nature of literary works more generally. And what can be made of the hint, in Metaphysics Eta, 6, that the unity of The Iliad is a matter of a set of words made “one” by being connected together? Rather than attempting to make conjectures about such difficult exegetical topics, this entry focuses primarily on contributions made by authors who explicitly address themselves at length to some of the aforementioned questions pertaining to the ontology of works of art, either in general or with reference to such major art forms as music, literature, painting, architecture, and sculpture. One further note about the scope of this entry is in order. Instructive surveys of the subfield of aesthetics known as the ontology of art are fairly plentiful; see Nicholas Wolterstorff, Gregory Currie, Joseph Margolis, Stephen Davies, Amie Thomasson, Guy Rohrbaugh, Theodore Gracyk, Robert Stecker, and Carl Matheson and Ben Caplan. Surveys of the history of the field have not, however, been forthcoming, and the comments on this topic that crop up in the literature are sketchy and sometimes quite misleading. One shortcoming has been a marked tendency to focus on contributions from the last two decades of the 20th century, the one salient exception being due attention paid to works by Roman Ingarden. The present entry has been designed with this shortcoming in mind. A schematic mapping of questions and positions is provided and reference is made to neglected, earlier contributions to the ontology of art. (shrink)

This essay considers the dependency of trans youth by bridging transgender studies with feminist care ethics to emphasize a trans wisdom about solidarity through dependency. The first major section of the essay argues for reworking Sara Ruddick's philosophy of mothering in the context of trans and gender‐creative youth. This requires, first, stressing a more robust interaction among her divisions of preservative love, nurturance for growth, and training for acceptability, and second, creating a more nuanced account of “nature” in relation to (...) nurturance for growth to avoid casting transition as contrary to a trans youth's healthy development. In the second major section of the essay, I depart from Ruddick's framework to emphasize the difference of care for trans youth by trans and/or queer communities and through mutual caregiving, stressing a trans wisdom about dependency and solidarity found in the work of Sylvia Rivera and Marsha P. Johnson. Turning to Eva Feder Kittay's links between dependency work and equality, I argue that Rivera and Johnson's work contains a distinct knowledge derived from practice necessitating the connection between solidarity and dependency in particular communities. I then call for more work on trans care ethics, trans ethics, and trans wisdom more broadly. (shrink)

Andrew Davis; Ability and Learning, Journal of Philosophy of Education, Volume 22, Issue 1, 30 May 2006, Pages 45–55, https://doi.org/10.1111/j.1467-9752.1988.t.

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

I offer a new, limited solution to divine hiddenness based on a particular epistemic paradox: sometimes, knowing about a desired outcome or relevant features of that desired outcome would prevent the outcome in question from occurring. I call these cases epistemically self-defeating situations. This solution, in essence, says that divine hiddenness or silence is a necessary feature of at least some morally excellent or desirable states of affairs. Given the nature of the paradox, an omniscient being cannot completely eliminate hiddenness, (...) just as an omnipotent being cannot create a rock so heavy that they cannot lift it. Epistemically self-defeating situations provide an undercutting defeater for the assumption that any nonresistant nonbeliever could always, at any time, be in conscious relationship with a perfectly loving God. Thankfully, silence is a temporary feature of epistemically self-defeating situations: once the outcome is achieved, agents can know in full. (shrink)

This groundbreaking volume highlights the contemporary relevance of Jacques Lacan (1901-1981), whose linguistic reworking of Freudian analysis radicalized both psychoanalysis and its approach to theology. Part I: Lacan, Religion, and Others explores the application of Lacan's thought to the phenomena of religion. Part II: Theology and the Other Lacan explores and develops theology in light of Lacan. In both cases, a central place is given to Lacan's exposition of the real, thereby reflecting the impact of his later work. Contributors include (...) some of the most renowned readers and influential academics in their respective fields: Tina Beattie, Lorenzo Chiesa, Clayton Crockett, Creston Davis, Adrian Johnston, Katerina Kolozova, Thomas Lynch, Marcus Pound, Carl Raschke, Kenneth Reinhard, Mario D'Amato, Noelle Vahanian, and Slavoj Žižek. Topics traverse culture, art, philosophy, and politics, as well as providing critical exegesis of Lacan's most gnomic utterances on theology, including "The Triumph of Religion."--Back cover. (shrink)

Scholars addressing the moral status of corporations are motivated by a pair of conflicting anxieties: If corporations are not moral agents, we will be unable to blame them for their wrongs. But if corporations are moral agents, we will have to recognize corporate moral rights, and the legal rights that flow therefrom. In early and under-appreciated work, Tom Donaldson sought to allay both concerns at once: Corporations, he argued, are not moral persons, and so are not eligible for many of (...) the rights that persons enjoy; but they are moral agents, and so ought to bear responsibility in many of the ways that persons do. This article offers a sympathetic critique of the Donaldsonian strategy. I argue that, as it has been elaborated, the strategy necessarily fails. Nonetheless the strategy embodies a worthy aim and so I seek to provide an alternative way to vindicate it. (shrink)

Does ethical content in organizational mission statements make a difference? Research regarding the effectiveness and results of mission statements is mixed. Krohe concluded that much of the good results do not come from the mission statements themselves but from the strategic re-education that happens in producing one. We attempted to discover whether universities that explicitly state their ethical orientation and vision in their mission statements had students with higher perceived character trait importance and activities that reinforce character than universities that (...) did not. While the faculty and administration may receive benefits from mission statement development through strategic re-education as Krohe suggested, do the statements influence the students at the university who may have had no role in its creation? Using a sample of senior business students at 16 universities we found that students at universities with ethical statements in their mission statements had significantly higher perceived character trait importance and character reinforcement than those at universities whose missions lacked ethical statements. This research suggests that schools that explicitly stated ethical content in their mission statements do influence student ethical orientation. (shrink)

Applying the graded response model within the item response theory framework, the present study analyzes the psychometric properties of Karwowski’s creative self-efficacy scale. With an ethnically diverse sample of US college students, the results suggested that the six items of the CSE scale were well fitted to a latent unidimensional structure. The scale also had adequate measurement precision or reliability, high levels of item discrimination, and an appropriate range of item difficulty. Gender-based differential item functioning analyses confirmed that there were (...) no differences in the measurement results of the scale concerning gender. Additionally, openness to experience was found to be positively related to the CSE scale scores, providing some support for the scale’s convergent validity. Collectively, these results confirmed the psychometric soundness of the CSE scale for measuring CSE and also identified avenues for future research. (shrink)

This article explores a perplexing line from Rousseau's Emile: his suggestion that the ‘most important rule’ for the educator is ‘not to gain time but to lose it’. An analysis of what Rousseau meant by this line, the article argues, shows that Rousseau provides the philosophical groundwork for a radical critique of the contemporary cultural framework that supports homework, standardised testing, and the competitive extracurricular activities that consume children's time. He offers important insights to contemporary parents and educators wishing to (...) reimagine an educational system that is currently fuelled more by familial and international amour propre than by children's interests and needs. Not the least of these is his recognition that to reimagine children's education would require a new configuration of the very terms of modern life. Problematically, however, Rousseau's alternative to mechanised clock-time depends on the labour of Sophie, whose time is also reconfigured. For the next generation of children to be educated according to natural time, Sophie's labour needs to be off the clock too, which is just as much a linchpin of her removal from the public sphere of citizenship and the paid workforce as it is of Emile's education for public life, or so the final section of this paper argues. (shrink)