Four ethical values — maximizing benefits, treating equally, promoting and rewarding instrumental value, and giving priority to the worst off — yield six specific recommendations for allocating medical resources in the Covid-19 pandemic: maximize benefits; prioritize health workers; do not allocate on a first-come, first-served basis; be responsive to evidence; recognize research participation; and apply the same principles to all Covid-19 and non–Covid-19 patients.

Moral stress is an increasingly significant concept in business ethics and the workplace environment. This study compares the impact of moral stress with other job stressors on three important employee variables—fatigue, job satisfaction, and turnover intentions—by utilizing survey data from 305 customer-contact employees of a financial institution’s call center. Statistical analysis on the interaction of moral stress and the three employee variables was performed while controlling for other types of job stress as well as demographic variables. The results reveal that (...) even after including the control variables in the statistical models, moral stress remains a statistically significant predictor of increased employee fatigue, decreased job satisfaction, and increased turnover intentions. Implications for future research and for organizations are discussed. (shrink)

In 1933 the philosopher Martin Heidegger declared his allegiance to Hitler. Ever since, scholars have asked to what extent his work is implicated in Nazism. To address this question properly involves neither conflating Nazism and the continuing philosophical project that is Heidegger's legacy, nor absolving Heidegger and, in the process, turning a deaf ear to what he himself called the philosophical motivations for his political engagement. It is important to establish the terms on which Heidegger aligned himself with National Socialism. (...) On the basis of an untimely but by no means unprecedented understanding of the mission of the German people, the philosopher first joined but then also criticized the movement. An exposition of Heidegger's conception of Volk hence can and must treat its merits and deficiencies as a response to the enduring impasse in contemporary political philosophy of the dilemma between liberalism and authoritarianism. (shrink)

This paper addresses the role of categories and dimensions in the classification of psychopathology. While psychopathology does not sort itself out neatly into natural categories, we do find rough, symptom-based groupings that, through refinement, become diagnostic categories. Given that these categories suffer from comorbidity, uncertain boundaries, and excessive “unspecified disorder” diagnoses, there has been a move toward refining the diagnoses with dimensional measures. The paper traces efforts both to improve the diagnostic categories with validators that allow at least partial validity (...) and to introduce dimensional measures into the diagnostic manual. Drawing from the philosophical pragmatism of Charles Sanders Peirce, William James, and John Dewey, which emphasizes the practical, effect-sensitive consequences of a theory along with an emphasis on empirical evidence and the progressive, probabilistic character of knowledge, the paper argues that these efforts must be guided both by scientific validity and clinical utility. (shrink)

Kant's treatment of pure aesthetic judgement can ignore ugliness, since an analytic of the ugly, according to a recent essay by Paul Guyer, uncovers the aesthetic impurity of the criteria against which we judge ugliness. Free beauty, as Kant expounds it, does not admit a contrary, and hence a Kantian account of ugliness, such as Guyer's, must look elsewhere in order to scrabble together terms for its definition. Yet if we recognise the ugly by its unsuitability as an object of (...) pure contemplation, then we have made a disinterested judgement of free ugliness. The pleasure of the harmony of the faculties, which is a pleasure in the way the world and our faculties fit together, observes itself contradicted by ugliness. (shrink)

In the conclusion to this multi-part article I first review the discussions carried out around the six essential questions in psychiatric diagnosis – the position taken by Allen Frances on each question, the commentaries on the respective question along with Frances’ responses to the commentaries, and my own view of the multiple discussions. In this review I emphasize that the core question is the first – what is the nature of psychiatric illness – and that in some manner all further (...) questions follow from the first. Following this review I attempt to move the discussion forward, addressing the first question from the perspectives of natural kind analysis and complexity analysis. This reflection leads toward a view of psychiatric disorders – and future nosologies – as far more complex and uncertain than we have imagined. (shrink)

Similarity and difference, patterns of variation, consistency and coherence: these are the reference points of the philosopher. Understanding experience, exploring ideas through particular instantiations, novel and innovative thinking: these are the reference points of the artist. However, at certain points in the proceedings of our Symposium titled, Next to Nothing: Art as Performance, this characterisation of philosopher and artist respectively might have been construed the other way around. The commentator/philosophers referenced their philosophical interests through the particular examples/instantiations created by the (...) artist and in virtue of which they were then able to engage with novel and innovative thinking. From the artists’ presentations, on the other hand, emerged a series of contrasts within which philosophical and artistic ideas resonated. This interface of philosopher-artist bore witness to the fact that just as art approaches philosophy in providing its own analysis, philosophy approaches art in being a co-creator of art’s meaning. In what follows, we discuss the conception of philosophy-art that emerged from the Symposium, and the methodological minimalism which we employed in order to achieve it. We conclude by drawing out an implication of the Symposium’s achievement which is that a counterpoint to Institutional theories of art may well be the point from which future directions will take hold, if philosophy-art gains traction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Limits of Self-ConstitutionJames Phillips, MD (bio)I am in general agreement with the authors that a psychoanalytic or psychodynamic approach is a good response to simple pruning procedures. That said, however, I do have questions about how they develop their argument.I was surprised at the very notion of pruning, and quite surprised that it is as popular as the authors suggest. The idea that Pete should deal with his (...) inappropriate outbursts by erasing or pruning that aspect of his personality seems so ridiculous that it beggars belief. It leaves one wondering whether Pete, or anyone agreeing with this argument, is credulous enough to think you can just prune away an undesirable part of yourself.The authors write:Importantly, this expulsion is often thought to be a good thing not simply because the undesirable elements are morally wanting but because in some important sense, they are not really a part of the agent proper. This point many seem extravagantly wishful, but is intuitively plausible.Really, “intuitively plausible” that personality traits are not part of the agent? I can understand that the agent may not grasp his or her involvement in the undesirable trait, but to argue that the trait is in reality not part of agent is a very odd claim on the part of the authors.When the authors write that “It would be difficult to exaggerate the prominence of the pruning view of agential self-constitution in philosophy,” they are strongly connecting the notions of pruning and self-constitution. I am aware that self-constitution is a major theme for philosophers like Korsgaard. The authors strongly embrace this principle in drawing out their arguments.In a footnote to their article the authors claim that various notions of a “true self” imply a pruned self. For Winnicott, an originator of the “true self,” this note of pruning does not hold. Winnicott contrasts the true self, a sense of self based on spontaneous authentic experience and a feeling of being alive, with a false self, a defensive veneer without the vivacity of the true self. The notion of pruning simply does not belong in this discussion.What the authors and their supporting philosophers leave out are two limitations to self-constitution. For the first, let me invoke another philosopher, Martin Heidegger, and his notion of “thrownness”—Geworfenheit. We are “thrown” into the world in the particular circumstances of our birth. We do not self-constitute our beginnings; we are plunged into them. The question then becomes what we make of these beginnings. [End Page 209] If they are undesirable, we can brood over them, or we can attempt to overcome them. And as we all know, if the beginnings are bad enough, we may not be able to overcome them.The second limitation to self-constitution resides in the “self.” Does the individual constitute him or her self, or is it more a matter of the self developing out of dialogic relationship of self and other? Here I invoke another philosopher, Paul Ricoeur, who has addressed this issue from a number of perspectives. At a deictic level, the “I” or the self is a shifter that takes on a different meaning depending on its context. At the level of pragmatics, the individual is engaged in illocutionary speech that is addressed to another person, implying, in simple terms, that we live in dialogue. Still more pertinent to this discussion, Ricoeur notes that self-knowledge is not straightforward: “the self does not immediately know itself, but only knows itself indirectly by way of the detour through the cultural signs of all sorts that make us say that action is symbolically mediated” (Ricoeur, 2016, p. 240). And finally, Ricoeur argues for the priority of alterity over reflexivity. “Pushing further yet the primacy of alterity over reflexivity, some will emphasize the dependence of personal identities on identifications with... heroes, emblematic characters, models and teachers” (p. 248). To clarify this statement, Ricoeur is contrasting self-constitution through reflection with a self-other relationship in which the self needs the other to constitute itself—and, of course, he is making a case for the latter.Although I am questioning the authors’ concepts of... (shrink)

Kant calls judgements of adherent beauty impure aesthetic judgements because they presuppose the empirical concept of the object and are thus not determined exclusively by a feeling of pleasure. Glossed over in Kant’s account is what kind of universality these judgements have. This article argues that the subjective universality of pure aesthetic judgements and the objective universality of cognitive judgements do not merge in impure aesthetic judgements and that the tension between them reaches also into Kant’s pure aesthetic judgements with (...) their unstable relations between the pleasure of the a priori harmony of the faculties and the empirical object named beautiful. Pleasure, which for Kant is communicable while nonetheless not being discursive, is always to some extent lost for words. (shrink)

This article proposes that Hobbes runs two different arguments for sovereignty in Leviathan. The one is polemical and takes up the notion of a covenant from early-modern resistance theory in order to redeploy it in the cause of absolutism. The other is biblical and constructs an image of the sovereign whose authority is a Mosaic legacy. The one argument is addressed to the unruly subject and teaches obedience, whereas the other is addressed to the sovereign and sets out the positive (...) vocation of a Christian ruler. The conjunction of secular materialism and divine right in Leviathan becomes less puzzling when the book’s addressees are differentiated. By depriving the subject of any right of appeal to God in protest against the sovereign, Hobbes dismantles one of the bulwarks of early-modern resistance. This motive for secularism has understandably no role to play in Hobbes’ conception of the sovereign. Indeed, as far as facilitating the sovereign’s biblically framed vocation is concerned, the secularism of Leviathan is arguably simply a means to an end. (shrink)

Two central strands in Arendt's thought are the reflection on the evil of Auschwitz and the rethinking in terms of politics of Heidegger's critique of metaphysics. Given Heidegger's taciturnity regarding Auschwitz and Arendt's own taciturnity regarding the philosophical implications of Heidegger's political engagement in 1933, to set out how these strands interrelate is to examine the coherence of Arendt's thought and its potential for a critique of Heidegger. By refusing to countenance a theological conception of the evil of Auschwitz, Arendt (...) consolidates the break with theology that Heidegger attempts through his analysis of the essential finitude of Dasein. In the light of Arendt's account of evil, it is possible to see the theological vestiges in Heidegger's ontology. Heidegger's resumption of the question concerning the categorical interconnections of the ways of Being entails an abandonment of finitude: he accommodates and tacitly justifies that which can have no human justification. (shrink)

Dr. Otto Doerr-Zegers's article is so interesting and insightful that I have nothing critical to say about it. On the other hand, in finding Greek, mainly Platonic, origins for psychotherapy, he offers us much to think about. In this brief commentary I will attempt to draw out some of the implications of his analysis for contemporary psychotherapy.Doerr-Zegers's analysis begins with a reflection on Socrates' Maieutics, Socrates' invoking the midwife metaphor to convey his use of dialectics to bring forth the ignorance (...) of his interlocutor. Dörr recognizes that Maieutics is a kind of psychotherapy in that, like psychotherapy, it involves a "treatment by the word." He takes this verbal dimension of the treatment back... Read More. (shrink)

Heidegger’s Kant and the Problem of Metaphysics (1929) turns on a reading of the productive imagination in the first edition of the Critique of Pure Reason (1781). In siding with the imagination, Heidegger declares his dissent from the neo-Kantianism of his contemporaries. Yet, when Heidegger subsequently elaborates his philosophy of art in the 1930s, he is dismissive of the imagination altogether. His earlier partisanship was qualified. In Kant and the Problem of Metaphysics, Heidegger treats the productive imagination of Kant’s critical (...) period as still a step short of Heidegger’s own problem of the time of finite human beings. German Idealism’s step past Kant is, for Heidegger, a step beyond, but in the wrong direction. The aesthetics of German Idealism builds on the unification of experience and conceptuality wrought by the productive imagination in its transcendental use, thereby inscribing in the work of art a neglect of finitude that Heidegger will dispute. If what Heidegger holds against the imagination is its transcendental use, the fully empirical concept of the imagination in Kant’s precritical writings invites reassessment in light of an engagement with finitude. I will show it has particular promise for rehabilitating the imagination in a Heideggerian philosophy of art. (shrink)

Evidence from egocentric space is cited to support bicoding of navigation in three-dimensional space. Horizontal distances and space are processed differently from the vertical. Indeed, effector systems are compatible in horizontal space, but potentially incompatible (or chaotic) during transitions to vertical motion. Navigation involves changes in coordinates, and animal models of navigation indicate that time has an important role.

To achieve its goals of managing andrestricting access to psychiatric care, managedcare organizations rely on an instrument, theoutpatient treatment report, that carriessignificant implications about how they viewpsychiatric patients and psychiatric care. Inaddition to involving ethical transgressionssuch as violation of patient confidentiality,denial of access to care, spurious use ofconcepts like quality of care, and harassmentof practitioners, the managed care approachalso depends on an overly technical,instrumental interpretation of human beings andpsychiatric treatment. It is this grounding ofmanaged care in technical reason that I (...) willexplore in this study. I begin with a reviewof a typical outpatient treatment report andshow how, with its dependence on the DSM-IV,on behavioral symptoms and patient`functioning'', on the biomedical model ofpsychiatric illness, and on gross quantitativemeasures, the report results in a crude,skeletonized view of the human being as acongeries of behavioral symptoms and functions. I then develop the managed care construal ofhuman existence further by showing itsgrounding in technical reason, exploring thelatter in its modern embodiment and deriving itand its opposite, practical reason, fromAristotle''s distinction between technical andpractical reason, techne and phronesis. Inthis analysis of the role of technical reasonin managed care, I point out that managed caredid not have to develop its rationale de novobut could rather lift its arguments, e.g. thebiomedical model, from contemporary psychiatryand simply apply them in a restrictive manner. Finally, I conclude this study by arguing forpsychiatry''s status as a discipline ofpractical knowledge. (shrink)

This book, the first of its kind, surveys the career of the renowned Australian-German theatre and opera director Barrie Kosky. Its nine chapters provide multidisciplinary analyses of Barrie Kosky’s working practices and stage productions, from the beginning of his career in Melbourne to his current roles as Head of the Komische Oper Berlin and as a guest director in international demand. Specialists in theatre studies, opera studies, musical theatre studies, aesthetics, and arts administration offer in-depth accounts of Kosky’s unusually wide-ranging (...) engagements with the performing arts – as a director of spoken theatre, operas, musicals, operettas, as an adaptor, a performer, a writer, and an arts manager. Further, this book includes contributions from theatre practitioners with first-hand experience of collaborating with Kosky in the 1990s, who draw on interviews with members of Gilgul, Australia’s first Jewish theatre company, to document this formative period in Kosky’s career. The book investigates the ways in which Kosky has created transnational theatres, through introducing European themes and theatre techniques to his Australian work or through bringing fresh voices to the national dialogue in Germany’s theatre landscape. An appendix contains a timeline and guide to Kosky’s productions to date. (shrink)

James Phillips’s _Sternberg and Dietrich: The Phenomenology of Spectacle_ reappraises the cinematic collaboration between the Austrian-American filmmaker Josef von Sternberg (1894–1969) and the German-American actor Marlene Dietrich (1901–1992). Considered by his contemporaries to be one of the most significant directors of Golden-Age Hollywood, Sternberg made seven films with Dietrich that helped establish her as a style icon and star and entrenched his own reputation for extravagance and aesthetic spectacle. These films enriched the technical repertoire of the industry, challenged the sexual (...) mores of the times, and notoriously tried the patience of management at Paramount Studios. Sternberg and Dietrich: The Phenomenology of Spectacle demonstrates how under Sternberg’s direction Paramount’s sound stages became laboratories for novel thought experiments. Analyzing in depth the last four films on which Sternberg and Dietrich worked together, Phillips reconstructs the “cinematic philosophy” that Sternberg claimed for himself in his autobiography and for whose fullest expression Dietrich was indispensable. This book makes a case for the originality and perceptiveness with which these films treat such issues as the nature of trust, the status of appearance, the standing of women, the ethics and politics of the image, and the relationship between cinema and the world. Sternberg and Dietrich: The Phenomenology of Spectacle reveals that more is at stake in these films than the showcasing of a new star and the confectionery of glamor: Dietrich emerges here as a woman at ease in the world without being at home in it, as both an image of autonomy and the autonomy of the image. (shrink)

The Equivocation of Reason: Kleist Reading Kant asks how the literary works of the German writer Heinrich von Kleist might be considered a critique and elaboration of Kantian philosophy. In 1801, the twenty-three-year-old Kleist, attributing his loss of confidence in our knowledge of the world to his reading of Kant, turned from science to literature. Kleist ignored Kant's apology of the sciences to focus on the philosopher's doctrine of the unknowability of things in themselves. From that point on, Kleist's writings (...) relate confrontations with points of hermeneutic resistance. Truth is no longer that which the sciences establish; only the disappointment of every interpretation attests to the continued sway of truth. Though he adheres to Kant's definition of Reason as the faculty that addresses things in themselves, Kleist sees no need for its critique and discipline in the name of the reasonableness of the experience of the natural sciences. Setting transcendental Reason at odds with empirical reasonableness, Kleist releases Kant's ethics and doctrine of the sublime from the moderating pull of their examples. (shrink)

_The Equivocation of Reason: Kleist Reading Kant_ asks how the literary works of the German writer Heinrich von Kleist might be considered a critique and elaboration of Kantian philosophy. In 1801, the twenty-three-year-old Kleist, attributing his loss of confidence in our knowledge of the world to his reading of Kant, turned from science to literature. Kleist ignored Kant's apology of the sciences to focus on the philosopher's doctrine of the unknowability of things in themselves. From that point on, Kleist's writings (...) relate confrontations with points of hermeneutic resistance. Truth is no longer that which the sciences establish; only the disappointment of every interpretation attests to the continued sway of truth. Though he adheres to Kant's definition of Reason as the faculty that addresses things in themselves, Kleist sees no need for its critique and discipline in the name of the reasonableness of the experience of the natural sciences. Setting transcendental Reason at odds with empirical reasonableness, Kleist releases Kant's ethics and doctrine of the sublime from the moderating pull of their examples. (shrink)

_Tragic Play_ explores the deep philosophical significance of classic and modern tragedies in order to cast light on the tragic dimensions of contemporary experience. Romanticism, it has often been claimed, brought tragedy to an end, making modernity the age _after_ tragedy. Christoph Menke opposes this modernist prejudice by arguing that tragedy remains alive in the present in the distinctively new form of the playful, ironic, and self-consciously performative. Through close readings of plays by William Shakespeare, Samuel Beckett, Heiner Müller, and (...) Botho Strauss, Menke shows how tragedy re-emerges in modernity as "tragedy of play." In _Hamlet_, _Endgame_, _Philoktet_, and _Ithaka_, Menke integrates philosophical theory with critical readings to investigate shifting terms of judgment, curse, reversal, misfortune, and violence. (shrink)

The author has reviewed the history of biological theories of depression with a fascinating account of how researchers have argued backward, starting with the neurochemical effects of antidepressants on the monoamine system in the brain, and ending with etiological theories that place the biological cause of depression in disturbances of the monoamine system. He explains how further work in biological etiology has followed the same backward path. In carrying out this task, he has done such an excellent job that I (...) have little to offer as a critique of his work. The author uses a research model developed by Lakatos, and he points out that Lakatos's approach... (shrink)

Heidegger’s discussions of beauty in the 1930s and ’40s arguably have more to do with a confrontation with Hegel than with a revisiting of the question of how best to analyse our experience of the beautiful. Beauty, for Heidegger as for Hegel, takes its definition from truth. At issue is a forcible rewriting of the harmony of the faculties to which Kant appeals in his defence of pure aesthetic judgements. The highest truth, and the truth of beauty, lies in a (...) proper understanding of harmony, whether as the comprehensive reconciliation of the absolute Idea or as the non-closure in which truth as unconcealment remains contested by concealment. While neither Hegel nor Heidegger abides by the subjectivism of Kant’s aesthetics, insisting instead that beauty is more than a mere feeling, Hegel’s beauty as reconciliation and Heidegger’s beauty as strife both attest to the ongoing sway of Kant’s harmony of the faculties. (shrink)

In “Whole Life Narratives and the Self” David Lumsden (2013) has provided us with a clear review of the debate over narrative and personal identity and has staked out his own position in that debate. Arguing against neo-Lockean views of an atomistic self, he defends a narrative component in personal identity. Specifically, he argues that personal identity or self involves “a bundle of narrative threads” (p. 1), but does not require the grand unity of a master narrative—a whole life narrative. (...) It follows for him that the understanding—and treatment—of fragmented psychiatric states does not require whole life narratives. In his analysis, he is both defending a philosophical position regarding narrative and personal .. (shrink)

Eric Craig invites us to participate in a conversation about existential psychotherapy, which I am pleased to join, and I am able to articulate my questions and disagreements only because he has provided such a clear presentation of the relevant issues. Craig argues two major points: 1) that existential psychotherapy, at least in the United States, has lost its grounding in ontology, and that it must recover that grounding; and 2) that the only adequate ontology for grounding existential psychotherapy is (...) that of Martin Heidegger. In this commentary, I question both of these assumptions. Before proceeding to that discussion, however, we need two clarifications. The first involves.. (shrink)

Heidegger’s reading of Nietzsche’s doctrine of the eternal return of the same exhibits the preoccupations and limitations of his middle and late periods. It situates Nietzsche in the grand narrative of the history of the misunderstanding of being that Heidegger was striving to map. Yet it thereby neglects the question of the primordiality and insuperability of mood that was a focus of Being and Time and The Fundamental Concepts of Metaphysics. It does not acknowledge the alternative ontological path pursued by (...) Nietzsche’s engagement with a world and time grounded in joy. This article attempts to defend Nietzsche by means of an appeal to the early Heidegger. (shrink)

A story goes that the king of Scythia had a highly-bred mare, and that all her foals were splendid; that wishing to mate the best of the young males with the mother, he had him brought to the stall for the purpose; that the young horse declined; that, after the mother’s head had been concealed in a wrapper he, in ignorance, had intercourse; and that, when immediately afterwards the wrapper was removed and the head of the mare was rendered visible, (...) the young horse ran away and hurled himself down a precipice.If Oedipus Rex moves a modern audience no less than it did the contemporary Greek one, the explanation can only be that its effect does not lie in the contrast between destiny and human will, but is to be looked... (shrink)

With "Literature and the Right to Death", Blanchot makes his most sustained contribution to the debate initiated in France by Kojeve and Hippolyte concerning Hegel's philosophy. At times Blanchot's reading is forced and idiosyncratic. Yet this reading has another motivation than the succinct and faithful paraphrase of the earlier thinker. Arguably Blanchot positions himself within Hegel’s terminology in order to rethink the sense of the expression 'the philosophy of art'. What is with Hegel an objective genitive becomes a subjective genitive. (...) The rules therefore change. Whereas Hegel offers in his lectures on aesthetics an expatiation on art fixed under the gaze of philosophy, Blanchot installs art as the subject and submits the conventions and expectations of philosophical discourse to its procedures. In the light of this reversal, what might otherwise be judged a deviation or a lapse with respect to the genre of the philosophical essay can be seen to play its role in Blanchot's reassessment of the relations between metaphysics and literature. (shrink)

Our lives are dominated by technology. We live with and through the achievements of technology. What is true of the rest of life is of course true of medicine. Many of us owe our existence and our continued vigour to some achievement of medical technology. And what is true in a major way of general medicine is to a significant degree true of psychiatry. Prozac has long since arrived, and in its wake an ever-growing armamentarium of new psychotropics; beyond that, (...) neuroscience promises ever more technological advances for the field. -/- However, the effect of technology on the field of psychiatry remains highly ambiguous. On the one hand there are the achievements, both in the science and practice of psychiatry; on the other hand technology's influence on the field threatens its identity as a humanistic practice. In this ambiguity psychiatry is not unique - major thinkers have for a long time been highly ambivalent and concerned about the technological order that now defines modern society. For the future, the danger is that the psychiatrically real becomes that which can be seen, the symptom, and especially that which can be measured. Disorders and treatments might become reduced to what can be defined by diagnostic criteria and what can be mapped out on a scale. -/- This book exams how technology has come to influence and drive psychiatry forward, and considers at just what cost these developments have been made. It includes a range of stimulating and thought-provoking chapters from a range of psychiatrists and philosophers. (shrink)

Gilles Deleuze and Hannah Arendt are two thinkers who have theorised the exceptionalism of the revolutionary moment. For Deleuze, it is the moment of the people to come. For Arendt, it is the moment of the freedom of political action. In the decades since the fall of the Berlin Wall there has been extensive debate on how to remember the German Democratic Republic (DDR) and how to understand the events leading up to its demise. Arendt's analyses of totalitarianism, natality and (...) the public sphere provide points of orientation in an attempt to clarify the nature of the DDR, the dishonesty of its evaluation in the West as well as the transitory purchase of its legitimating discourse on later generations of its citizens. Deleuze's reinvigoration of the revolutionary sense of the term ‘people’ sets it in defiance of prevalent notions of popular sovereignty and therefore facilitates a different reading of the protests against the so-called people's republic of the DDR: something else was at issue besides the substitution of one state form for another. (shrink)

Glover proposes a planning–control model for the parietal lobe that contrasts with previous formulations that suggest independent mechanisms for perception and action. The planning–control model potentially solves practical functional problems with a proposed independence of perception and action, and offers some new directions for a study of human performance.

Axel Honneth reads the young Hegel as engaged in a debate with Hobbes over the social nature of the autonomous self. In the passages that are crucial for the development of Honneth’s own theory of recognition the Jena manuscripts nevertheless do not mention Hobbes by name. Attributing to Hegel an advance on Hobbes’s influential early modern account of individual autonomy, Honneth does not duly consider the polemical context in which Hobbes wrote. A re-examination of the polemical use to which Hobbes (...) puts the notion of individual autonomy raises questions concerning the extent to which Honneth can straightforwardly valorise individual freedom. (shrink)

Atypical among Heidegger’s numerous discussions of poets is the condemnation of Rilke in the 1942-43 lecture course Parmenides. At stake is the definition of “the open” (das Offene): Rilke reserves the open for animals as freedom from conceptual determinacy, whereas Heidegger reserves it for human beings as the place of Being in which things first appear as what they are. The open, for Heidegger, names the existential conception of place (as distinct from a geographical point) and features in his life-long (...) attempts to articulate the relations between language, human existence, poetry and the everyday. By denying that human beings have access to the open, Rilke runs athwart this project and by denying it in a poem he confounds the expectations that Heidegger harbours with respect to the work of art as a site of the opening up of aesthetic experience, within the everyday, to ontological questioning. (shrink)

Heidegger’s discussions of beauty in the 1930s and ’40s arguably have more to do with a confrontation with Hegel than with a revisiting of the question of how best to analyse our experience of the beautiful. Beauty, for Heidegger as for Hegel, takes its definition from truth. At issue is a forcible rewriting of the harmony of the faculties to which Kant appeals in his defence of pure aesthetic judgements. The highest truth, and the truth of beauty, lies in a (...) proper understanding of harmony, whether as the comprehensive reconciliation of the absolute Idea or as the non-closure in which truth as unconcealment remains contested by concealment. While neither Hegel nor Heidegger abides by the subjectivism of Kant’s aesthetics, insisting instead that beauty is more than a mere feeling, Hegel’s beauty as reconciliation and Heidegger’s beauty as strife both attest to the ongoing sway of Kant’s harmony of the faculties. (shrink)

Heidegger’s reading of Nietzsche’s doctrine of the eternal return of the same exhibits the preoccupations and limitations of his middle and late periods. It situates Nietzsche in the grand narrative of the history of the misunderstanding of being that Heidegger was striving to map. Yet it thereby neglects the question of the primordiality and insuperability of mood that was a focus of Being and Time and The Fundamental Concepts of Metaphysics. It does not acknowledge the alternative ontological path pursued by (...) Nietzsche’s engagement with a world and time grounded in joy. This article attempts to defend Nietzsche by means of an appeal to the early Heidegger. (shrink)

Astory is an instruction manual of sorts, containing rules for the manufacture of fictional objects. Consider the opening sentence from E. F. Benson's Mapp and Lucia: "Though it was nearly a year since her husband's death, Emmeline Lucas still wore the deepest and most uncompromising mourning."1 As the sentence does not describe someone who exists, it does not press a truth claim that could be substantiated by observing the person in question. Instead, it is an invitation to construction: the reader (...) is presented with guidelines for what he or she is to imagine. These guidelines do not fully determine what is imagined, since the exact shape and constitution of what a... (shrink)

This anthology of philosophical essays explores the interpersonal and political contexts in and against which the films of ten major postwar filmmakers were made.

This article is an attempt to rethink the terms on which we understand cinematic realism. Cinema's very success in recording reality problematises the notion of reality by which ?realism? has otherwise been oriented. This is because the world of the age of cinema is a plurality of worlds, with the times and places captured on film competing for credibility. It is not a question, epistemologically, of discovering the real world so much as, ethically, relearning the art of being embodied. Bazin (...) and Mizoguchi are two figures from the middle of the twentieth century who confronted the open-ended challenge of cinematic realism and whose works provide the impetus for reflecting anew on what it means to exist bodily in an advanced technological society. (shrink)

International law guarantees rights to indigenous peoples regarding traditional lands, knowledge, cultural preservation, and human security. This paper will examine the sources of these rights and legal remedies for violations of law. Protection of indigenous peoples’ cultures and resources contribute to the protection of the global environment.