In lieu of an abstract, here is a brief excerpt of the content:The Irreplaceable Cannot Be ReplacedEllen HarveyThe Irreplaceable Cannot Be Replaced, Ellen Harvey, 2008. Photographs: Jan Baracz.People in New Orleans were invited to submit images or descriptions of irreplaceable places, people, or things lost to Hurricane Katrina. Eleven submissions were chosen at random and the artist painted 16” x 20” oil paintings based on those submissions. All thirty texts that were submitted were framed and exhibited along with the (...) paintings at the Contemporary Arts Center/New Orleans as part of the exhibition Something from Nothing, curated by Dan Cameron. Texts without a painting were accompanied by a framed black panel. At the end of the exhibition, all of the paintings and the framed texts were given away to the participants.Ellen Harvey was born in the United Kingdom and lives and works in Brooklyn, NY. She has exhibited extensively in the US and internationally and was most recently included in the 2008 Whitney Biennial. Recent solo exhibitions include Private Collections at Locks Gallery, Philadelphia, The Museum of Failure at Luxe Gallery, New York, Beautiful/Ugly at Magnus Müller in Berlin, Bad Mirror at Galerie Gebruder Lehmann in Dresden, Mirror at the Pennsylvania Academy, and A Whitney for the Whitney at Philip Morris at the Whitney Museum at Altria. She took part in the Whitney Independent Study Program and the PS1 Studio Program. Recent awards include a Pennies from Heaven Grant, a Philadelphia Exhibitions Initiative Grant, a Rema Hort Mann Foundation Grant, a Palm Beach County Cultural Council Grant, and a New York Foundation for the Arts Fellowship. She has completed projects for both the New York and Chicago Transit Authorities, most recently including a mosaic for the new Metro-North Yankee Stadium Station. The New York Beautification Project was published by Gregory Miller in 2005, and Ellen Harvey: Mirror was published by the Pennsylvania Academy in 2006. Click for larger view View full resolutionI am 87 years old living in a trailer on our property in New Orleans.We had 5 ft of water, which remained in the house 6 weeks creating mold to the ceiling.We lost everything. When I read Chris Rose’s column (he’s my favorite columnist in the whole world) it brought to mind my mother’s two dining room chairs that had been around as long as I can remember. I had them restored in about 1976 by Senior Citizens in classes of the “Peoples Program” sponsored by the nuns on Mirabean Ave. The wood was polished and varnished with a light brown stain and the seats were re-caned. I was born in 1920 so the chairs could be 75 years old. Anyway I can imagine you will have many interesting subjects to choose from but I’m submitting mine hoping I’ll be one of the very fortunate ones selected.I am terrible at drawing but will give you as complete a description as I can.I loved those chairs and enjoyed them for extra seating on holidays and at parties and they were conversation pieces.Alice Delaney[End Page 2] Click for larger view View full resolutionThere are so many “washed away” treasures, that the memorialization of even just one will be everlastingly meaningful to the community.I am submitting photographs of porcelain dolls, which I had crafted prior to the disaster. The dolls shown were created from commercial molds and were ready to go to a “new home.” Needless to say these dolls were submerged under water for at least two weeks. I call them my “children of the flood” but have not had the courage to disassemble them. I was able to rescue some doll parts and am in the process of cleaning, sorting and sanitizing them for future assembly.If I am ever able to get back to my very rewarding hobby, which was helpful in supplementing my retirement income, I will have to replace my electronic kiln and most of my doll making supplies. Many of the molds that were destroyed are no longer available. However, I will keep the memories dear, I have been fortunate enough to replace my sewing machines and some of the fabric used for clothing and doll... (shrink)

Imperialism is thought to be wrong by virtually everyone today. The consensus may be correct. However, there may be a few good things to be said for empire. More importantly for political philosophy, empires are not harder to justify or legitimate than states, or so I argue. The bad press that empires receive seems due to a methodological suspect comparison of nasty empires to nice states. When nice empires are considered they do not fare much worse than (nice) states. I (...) suggest that empires can have the same weak kind of legitimacy that states have and that both lack fuller or stronger legitimacy. a Footnotesa An earlier version of this essay was presented at James Madison University and discussed at a workshop of the Committee for Politics, Philosophy, and Public Policy at the University of Maryland, College Park. I am grateful to members of both audiences for critical questions and comments, in particular to John Brown, Farid Dhanji, Douglas Grob, Peter Levine, Jerry Segal, and Karol Soltan (others are thanked in the notes). Gratitude is also owed to Jose Idler-Acosta, David Lefkowitz, and Ellen Paul for helpful written comments. (shrink)

If we have a natural right to liberty, it is hard to see how a state could be legitimate without first obtaining the (genuine) consent of the governed. I consider the threat natural rights pose to state legitimacy. I distinguish minimal from full legitimacy and explore different understandings of the nature of our natural rights. Even though I conclude that natural rights do threaten the full legitimacy of states, I suggest that understanding our natural right to liberty to be grounded (...) in our interests in a certain way might not commit us to requiring consent for minimal legitimacy. Thus, even if natural rights effectively block the full legitimacy of states - on the assumption that rarely, if ever, the requisite consent will be forthcoming - they may allow minimal state legitimacy. Footnotesa I am grateful to my fellow contributors to this volume and to other readers for helpful questions and comments on an earlier version of this essay and in particular to Fred Miller, David Schmidtz, and John Simmons for written comments. Ellen Paul's detailed comments have helped me, as always, to correct many confusions and errors, and Harry Dolan's excellent editing has discovered others that I have endeavored to address. (shrink)

영국의 산업혁명은 정치, 사회, 경제, 문화적 측면에서 급진적인 변화를 가져왔다. 영국에서는 노동 기회가 확대되었고 여성 노동자들에게 고용기회가 주어졌다. 이에 따라 여성들의 사회적 참여가 많아졌다. 그러나 여성 노동자들은 빈번한 실업과 열악한 노동환경 속에서 고통 받았다. 더군다나 가사노동까지 맡아야 했던 당시의 상황에서 여성 노동자들은 여러 면에서 힘든 생활을 보낼 수밖에 없었다. 반면에 노동의 현장에서 일을 하지 않아도 되었던 여성들은 전통적인 여성관에 사로잡혀 있었다. 여성의 자리는 가정이라는 인식이 강화되었고 남성 노동자들은 아내가 가정에 안주할 수 있도록 최선의 노력을 다하여야 한다고 생각하였다.BR 이와 같은 사회적 (...) 배경에서 모리스는 『미지에서 온 소식(News from Nowhere)』이라는 자신의 소설에서 당시의 사회적 관념과 다른 여성관을 제시한다. 그는 소설에 등장하는 엘렌 (Ellen)과 클라라(Clara)등의 인물을 통해 다양한 여성 캐릭터를 제시하면서 여성과 남성의 권리가 균형을 이루고 가족 내 의무를 통해 평등을 창출해야한다는 진보적인 관점을 제시하였다. 그는 노동이 남성의 고유한 일은 아니라는 확신을 가지고 있었다. 모리스의 미학에서 노동 개념은 미적 활동으로서 예술 개념에 대한 사유가 함께 하고 있다. 따라서 노동의 즐거움이 삶의 중요한 요소이면서 미적인 삶으로 이끄는 동인이기도 하다. 여성노동자들도 남성과 동일하게 노동에서 즐거움을 느껴야 한다고 생각했다. 남녀 모두의 노동은 곧 미적인 제품 생산과 미적인 삶의 질을 가져온다는 자신의 미학 체계에서 여성의 노동 문제를 바라보았다. 그러나 모리스는 여성 노동 문제에 대한 실천적 접근에서 현실의 벽에 종종 부딪쳤다. 비록 모리스는 당시의 현실적인 상황을 완전히 해결하지 못했지만 여성의 지위, 역할, 교육에 대한 인식은 여성 노동에 대한 중요한 인식이라고 할 수 있다. (shrink)

ELSI efforts long have been troubled by critiques that they privilege scientific frameworks and grant scientists the power to set ethical agendas. As the first director of the Human Genome Project’...

The author examines the social construction of racial-ethnic identity and expectations for alliances based on identity in two feminist organizations. She considers the conditions in which assumed alliances work and fail, finding that race played a different role in the search for friendship and political connection among white women and among women of color. Women of color saw racial alliances as crucial in settings dominated by whites and often felt betrayed when alliances failed. White women did not speak of their (...) connections with one another as racial alliances, nor did they express betrayal when they failed. When assumed alliances failed, women were often surprised by unanticipated cross-racial connections. Such connections provided insight to the politically constructed nature of all alliances, even those based on identities. These insights, created in and through the differences between these activists, represent the opportunity for chosen alliances, what June Jordan calls “partnerships for change.”. (shrink)

Myriad Genetics holds a patent on testing for the hereditary breast and ovarian cancer genes, BRCA1 and BRCA2, and therefore has a forced monopoly on this critical genetic test. Myriad launched a Direct-to-Consumer (DTC) marketing campaign in the Northeast United States in September 2007 and plans to expand that campaign to Florida and Texas in 2008. The ethics of Myriad's patent, forced monopoly and DTC campaign will be reviewed, as well as the impact of this situation on patient access and (...) care, physician liability, and the future of DTC campaigns for genetic testing. (shrink)

A work of art no matter how old and classic is actually, not just potentially, a work of art only when it lives in some individualized experience. . . . It cannot be asserted too strongly that what is not immediate is not aesthetic. Let’s imagine a young professor who receives a poor review of her teaching because she fails, when observed, to complete what she had initially set out to accomplish in the specific class meeting under critique. Assessment, after (...) all, does imply—when taken literally—being judged on what one has set out to do. Why did she fail? Her art history students, mesmerized by Van Gogh’s hypnotic final masterpiece “Crows over Cornfield,” had, after their initial reticence, gradually .. (shrink)

Art teaches us not only what to see but what to be.Artists refashion stories with paintbrush and chisel. Their narrations reach back through time to the mysteries of cave painting at Altamira and Lascaux, over seventeen thousand years ago. We no longer know what stories the pictures on those walls were meant to illustrate, but we can try to imagine, even now.1Images speak a different language from words. They tell stories differently. Yet, for many generations, since art history was legitimized (...) as a discipline in American academia, early in the twentieth century2 illustration has been treated with a measure of condescension. Bernard Berenson, among others, intimates, in his Italian Painters of the Renaissance.. (shrink)

The last several decades have witnessed an explosion of research in Platonic philosophy. A central focus of his philosophical effort, Plato's psychology is of interest both in its own right and as fundamental to his metaphysical and moral theories. This anthology offers, for the first time, a collection of the best classic and recent essays on cenral topics of Plato's psychological theory, including essays on the nature of the soul, studies of the tripartite soul for which Plato argues in the (...) Republic, and analyses of his varied arguments for immortality. With a comprehensive introduction to the major issues of Plato's psychology and an up-to-date bibliography of work on the relevant issues, this much-needed text makes the study of Plato's psychology accessible to scholars in ancient Greek philosophy, classics, and history of psychology. (shrink)

This article proposes a form of visual narrative that fuses authoring and data within a unified paradigm called the ‘visual image data field’. A structure with multidimensional connections in a fluid environment that self-reflexively responds to its own usage supports the future language of visual sources. The intuitive gestures and curiosity that drive visual knowledge similarly drive development of this organic architecture. Diffusing iconic images that are shorthand for conveying historical trends makes this type of unambiguous expository reading obsolete as (...) images are embedded within the rich image fields native to digital media. A topsy-turvy game of images upsets the dominance of iconic images most frequently reproduced in text-based media and redistributes meaning across a pictorial array. Meaning not only changes according to the juxtaposition of images, but also emerges from the cracks between similar scenes. Images in relationship to other images acquire a granularity that deepens meaning by adding different qualities – less narrative and quantifiable – of understanding. If images become the ‘narremes’ or grammatical elements in a visual narratology, then meaning emerges from their sequencing and re-sequencing. (shrink)

This commentary responds to the suggestion that we can humanize online university education through the design decisions we make about it. It offers several reasons why the suggestion may be unrealistic, given that choice in online course design is increasingly narrowed by the prevalence of relatively powerless part-time instructors, student preference for convenient online offerings, and the use of learning management systems. However, if our design decisions are constrained, it becomes all the more important that we engage in critical conversations (...) about what we gain and lose when technology is used to automate or mediate university education. (shrink)