'Animals sell papers' : the value of animal stories -- Media and animal debates : welfare, rights, 'animal lovers' and terrorists -- Stars : animal performers -- Wild : authenticity and getting closer to nature -- Experimental : the visibility of experimental animals -- Farmed : selling animal products -- Hunted : recreational killing -- Monsters : horrors and moral panics -- Beginning at the end : re-imagining human-animal relations.
This article explores one of the key themes of Hans J. Morgenthau's moral theory, the concept of the lesser evil. Morgenthau developed this concept by reference to classical political theory, especially the articulation of the lesser evil found in Aristotle and Epicurus. The article begins by differentiating Morgenthau's work from that of E. H. Carr, whom he regards as engaged in a Quixotic quest to provide Machiavellism with greater ethical purpose. The article also contrasts the ethics of the lesser evil (...) with Kantian ethics. Morgenthau places the lesser evil in the context of a modernity that has lost the capacity to think about the relationship between politics and morality and stresses the importance of coming to grips with the existential demands of love and power. Finally, the article argues that despite the ubiquity of evil, the existence of the lesser evil gives rise to the development of specifically political virtues such as prudence and moderation which raise the possibility of moral politics beyond mere expedience. (shrink)
Poor nutrition habits have been reported in the childcare setting. While the literature advocates the need to carry out ‘Voice of the Child’ research, few studies have explored this methodology with regard to children and food, in particular in the pre-school setting. This article aims to outline the ethical issues raised by a research ethics committee and to discuss the impact of these issues on a study that hoped to determine the food perceptions of children (aged three to four years) (...) within an ongoing nutrition and lifestyle pre-school project in Ireland. Ethical approval was granted for this study but only upon the clarification of two aspects: that only hedonic symbols previously used in the literature could be included in the study; and that parental consent be obtained from both parents of each child. Children were shown food pictures and asked to use the hedonic symbols to answer questions posed to them on the food. Owing to the ethical constraints imposed by the requirement for two-parent consent, seven children, from a potential sample of 85, were eligible to partake in the study. These children did not seem to understand the hedonic symbols recommended for use by the ethics committee, therefore preventing the collection of in-depth qualitative data. The ethical constraints placed on this study impacted on both its design and its methodology and are discussed in relation to national and international ethical guidance and legislation. Future research with children regarding food choice must balance the need for strict ethical standards with the need to explore children’s views on this subject. (shrink)
In this article we illustrate, and argue for, the importance of researching the social context of health professionals’ ethical agendas and concerns. We draw upon qualitative interview data from 20 nurses working in two occupational health sites, and our discussion focuses mainly upon aspects of the shifting ‘ethical context’ for those nurses with a health promotion remit who are working in the British National Health Service. Within this discussion we also raise a number of potentially substantive issues, including the risks (...) of colluding in ‘double standards’, and the tensions between the practitioner and managerial roles in nursing. Overall, we hope to pose questions about the best ways to understand the ethical agency and responsibilities of health professionals. (shrink)
A child of the era of decolonization, Claire Denis grew up in various regions of France’s subSaharan colonial lands, and was brought back to the ‘métropole’ as a teenager in the 1960s.She has thus had a double practice of foreignness, abroad, and in her ‘own’ country, whichshe did not know and where, in similar yet fundamentally different ways than in Africa, shefelt like an outsider again. As the daughter of a colonial administrator – a childhoodbeautifully evoked in her first (...) feature, Chocolat – she had stood as a highly visibleembodiment of the Western presence on colonial soil. On her return to France, she wouldlive through the more banal experience of becoming an invisible intruder, an exile at‘home’– a theme explored in her subsequent works. From the start, Denisthus drew on her personal knowledge of feeling rootless to explore issues that haveremained at the heart of her filmmaking: the deeply perplexing questions of identity andalienation, assimilation and rejection, desire and fear inseparable from the post-colonialmalaise that affects France with particular acuteness. (shrink)
Claire Strom: Making Catfish Bait Out of Government Boys: The Fight Against Cattle Ticks and the Transformation of the Yeoman South Content Type Journal Article Pages 1-4 DOI 10.1007/s10806-010-9236-8 Authors Mark V. Juhasz, University of Guelph Rural Studies Programme, School of Environmental Design and Rural Development Guelph Ontario N1G 2W1 Canada Journal Journal of Agricultural and Environmental Ethics Online ISSN 1573-322X Print ISSN 1187-7863 Journal Volume Volume Journal Issue Volume.
On the young bride’s shoulder is a mauve bite mark: the outline of a mouth, a double arch,teeth marks, open jaws, lips raised up over hard enamel. Not the barely open lips of a kisson the skin; open, rather, as for a kiss on the mouth, but this time penetrating the skin: abristling kiss with the teeth bared, extreme – at the limit of the kiss, or beyond. A cruelkiss: a kiss of flesh . A young couple kisses in a (...) plane: the beginning ofthe film. Later we will see this icon, not knowing when it was imprinted, like a tattoo or abranding with the red hot iron of some ancient justice.What is a kiss? This is the question posed by Claire Denis’s film. Or rather: what isfucking?2It has long been accepted and repeated that kissing is a kind of devouring. Itbelongs to a core of imagery and metaphor that includes fairy tales , the fascination with cannibalism, the symbolism of Christian communion andthat of the lacerations of Dionysos, Osiris or Acteon, together with ghouls, striges andvampires, werewolves, incubi and succubi. This entire carnivorous breed is concealedwithin the film. It is recalled in its entirety, evoked by the gesture of Coré, the sick woman, standing on a bank, filmed from a low angle raising her coat aboveher shoulders to bring to mind for a moment the silhouette of Murnau’s Nosferatu.The vampire’s true formula is only revealed when one says ‘the kiss of the vampire’.That is what is at stake here, allowing for the fact that we are no longer in the era ofvampire stories: the kiss as vampire.It is not a question of any particular kiss, but rather that the kiss, in itself, opens on to the bite, and the taste of blood. And consequently it is a question of another wellknown coupling, that of Eros and Thanatos: not in a dialectic of opposites, but in a mutualexcitation and exasperation, each asking the other to go further, to go all the way to theend, to get completely lost. (shrink)
« Les rythmes scolaires » avec Claire Leconte – le 16 mai 2013 de 15:30 à 16:00 sur France Culture. Claire Leconte est professeur émérite de psychologie de l'éducation et spécialiste des rythmes de l'enfant et de l'adolescent, chercheur au laboratoire Psitec de l'université de Lille3. C. Leconte, Des rythmes de vie aux rythmes scolaires : quelle histoire !, Lille, Presses Universitaires du Septentrion, (...) - Actualités.
Not turned upside down, as Marx did to Hegel, but « inverted » by the mere contact with speaking beings, the Cartesian order of reasons becomes, according to Antonia Birnbaum, a device which generates both the subject and its environment, all at once, determining them as elements of the political - which has however already become « accidental » due to this invention, which exposes the speaking being to the world, and confronts it with the haecceity of the event. Cartesian (...) « politics » thus takes place in the forest, the privileged figure of the philosopher and the sign of the absence of any orientation, the truth of which Antonia Birnbaum tends to identify in and through Beckett s Molloy: far from being an possible community, it is full of « good things ». (shrink)
Body and image are crucial to the elaboration of both Jean-Luc Nancy’s philosophy andClaire Denis’s work in cinema. Nancy’s short book about the body, Corpus ,though it may initially have appeared as a minor work in his œuvre, has since been shown,and notably since the intervention of Jacques Derrida, as the cornerstone of much ofNancy’s late thought. As Derrida demonstrates, Nancy’s interest in the body turnsaround the crucial trope of touch which comes to stand, in his philosophy, as the marker (...) ofthe most fundamental limits that shape our understanding of and interaction with theworld: between inside and outside, subject and object, matter and meaning. As such, theconcept of touch frequently recurs in the discussion of art works, where the inscription of amaterial trace coincides with, or touches upon an evanescent sense. Nancy’s discussions ofartistic meaning have frequently centred around images – both painterly and filmic – asthe phenomena whereby the real, in manifesting its presence, is granted a certain sense.1Claire Denis, in common with the vast majority of live-action filmmakers, necessarily dealsin images and bodies – images of bodies – but her frequent refusal to provide thetraditional cinematic signifiers of psychological depth often means that the spectator isbrought up short before the strangeness of these bodies as bodies, which in turn opens upan interrogation as to the sense of her images. The mutual fascination that exists betweenNancy and Denis is well established, demonstrated by Nancy’s detailed, published engagements with Denis’s films – Beau travail , Trouble Every Day , L’Intrus – as well as by Denis’s short film portrait of the philosopher – Vers Nancy –and her cryptic appropriation of his text L’Intrus . But their engagement witheach other’s work appears in the image of Nancy’s somewhat abstract conception of touch:an approaching and withdrawing, a momentary proximity to the other that serves as muchto consolidate the stable identity of the one as it does to share in the identity of the other.Mirroring this intermittent relationship, this article will seek not to over-state theinterpenetration of the two œuvres, but merely to sketch some points of contact betweenthem, turning notably around the fascinating, but perhaps ultimately untouchable figureof the wound. (shrink)