"In an era of economic devastation, ongoing legacies of colonization and imperialism, climate change and habitat loss, there is a call for a new understanding of the meaning and relevance of ethics. These essays on otherness, responsibility, and hospitality raise urgent questions about the state of ethics in tumultuous times. Contributors range from prominent theorists-including Levinas, Michel Foucault, Jacques Derrida, and Giorgio Agamben-to more recent theorists including Judith Butler, Enrique Dussell, and Rosi Braidotti. Perhaps most crucially, this reader emphasizes the (...) always vulnerable status of a radically different Other, even as it questions what responsibility to that Other might mean."-Provided by publisher. (shrink)

With contributions from a galaxy of economists -€including David Colander, Robin Hahnel, Yanis Varioufakis and Fred Lee - this book is an important read and an€attempt to break down the varied barriers that have been erected to economic pluralism.

This intriguing new book examines and analyses the role of critical realism in economics and specifically how this line of thought can be applied to the real world. With contributions from such varying commentators as Sheila Dow, Wendy Olsen and Fred Lee, this new book is unique in its approach and will be of great interest to both economic methodologists and those involved in applied economic studies.

Abstract: Alienation and slavery from Precious or what we don't want to see. It is our purpose to establish, in a parallel reading, these two films (highly rewarded), namely The Fence and Precious, that apparently being so different, are an illustration of the reality of life and the modern democratic world: the social uprooting and slavery. If in the movie of Phillip Noyce and Christone Olsen The Fence, is told a story of three young Aboriginal girls who are forcibly (...) taken to be transformed into domestic slaves, in the movie of Lee Daniels Precious, the young woman is already a servant in her own home and seeks the transformation of her life. Uniting these two stories, we find fundamental elements: illiteracy, ill-treatment, the idea of a migration (real or metaphysical), among others, but whose fundamental notion is the journey. If the film The Fence, the fence itself is used to conduct the three young Aboriginal to a real reunion with the family, in Precious, the metaphorical ‘fence’ is the limit of her world. From this interpretation, we will undertake our reflection about what we consider to be the alienation of the modern world and the silence we produce about them. (shrink)

This intriguing new book examines and analyses the role of critical realism in economics and specifically how this line of thought can be applied to the real world. With contributions from such varying commentators as Sheila Dow, Wendy Olsen and Fred Lee, this new book is unique in its approach and will be of great interest to both economic methodologists and those involved in applied economic studies.

Ranking theory is one of the salient formal representations of doxastic states. It differs from others in being able to represent belief in a proposition (= taking it to be true), to also represent degrees of belief (i.e. beliefs as more or less firm), and thus to generally account for the dynamics of these beliefs. It does so on the basis of fundamental and compelling rationality postulates and is hence one way of explicating the rational structure of doxastic states. Thereby (...) it provides foundations for accounts of defeasible or nonmonotonic reasoning. It has widespread applications in philosophy, it proves to be most useful in Artificial Intelligence, and it has started to find applications as a model of reasoning in psychology. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

For twenty years, _Teaching for Diversity and Social Justice_ has been the definitive sourcebook of theoretical foundations, pedagogical and design frameworks, and curricular models for social justice teaching practice. Thoroughly revised and updated, this third edition continues in the tradition of its predecessors to cover the most relevant issues and controversies in social justice education in a practical, hands-on format. Filled with ready-to-apply activities and discussion questions, this book provides teachers and facilitators with an accessible pedagogical approach to issues of (...) oppression in classrooms. The revised edition also focuses on providing students the tools needed to apply their learning about these issues. Features new to this edition include: A new bridging chapter focusing on the core concepts that need to be included in _all_ SJE practice and illustrating ways of "getting started" teaching foundational core concepts and processes. A new chapter addressing the possibilities for adapting social justice education to online and blended courses. Expanded overview sections that highlight the historical contexts and legacies of oppression, opportunities for action and change, and the intersections among forms of oppression. Added coverage of key topics for teaching social justice issues, such as establishing a positive classroom climate, institutional and social manifestations of oppression, the global implications of contemporary SJE work, and action steps for addressing injustice. New and revised material for each of the core chapters in the book complemented by fully-developed online teaching designs, including over 150 downloadables, activities, and handouts on the book’s Companion Website. A classic for teachers across disciplines, _Teaching for Diversity and Social Justice_ presents a thoughtful, well-constructed, and inclusive foundation for engaging students in the complex and often daunting problems of discrimination and inequality in American society. (shrink)

Our aim is to explore and develop notions of objectivity that are useful and appropriate for critical realist empirical research. Part I explores the values associated with objectivity, Part II the linkages between objectivity and situated action. The introductory section of Part I explains why it is worthwhile in realist terms to develop the notion of objectivity; that is, develop it as opposed to remaining content with murky hidden notions or connotations that the term ‘objectivity’ brings to mind and that (...) tend to cause confusion in how it is accepted and rejected. This is important as a clarification exercise for social research. In Part II, we argue that the growth of knowledge requires engagement and critical analysis. We develop the idea that if subjects are engaging objectively with reality and its multiple standpoints, then the results will tend to be transformative. Again, our aim is to be of use to practical researchers by providing underlying arguments. Specifically, we argue that objectivity is a bridge between the subjectivities of subjects and the rest of the real world. (shrink)

This article explores the Polanyi brothers’ publicly-stated views--and private debates--concerning the nature and origin of fascism and communism. In that connection, it examines their rival estimates of the Soviet regime.

Given that the benefits of Corporate Political Activity (CPA) are usually granted in the form of favorable industry regulation that benefits all industry participants rather than a single firm, small politically inactive firms are often able to take advantage of the benefits from CPA without investing in them. We argue that the free‐riding problem is context specific. Situations of extreme uncertainty create institutional voids that enable individual firms to more fully appropriate the returns from their CPA. In this paper, we (...) examine the influence that CPA had on the U.S. government’s disbursements of TARP funding in 2008. We find that politically active firms were able to avoid the free‐rider problem by obtaining more instances of TARP funding when compared to firms that were not politically active. In addition to being more likely to receive TARP funds, politically active firms received larger amounts of TARP funding than those firms who were not politically active. (shrink)

It is widely believed that some wars are just, and that the paradigm case of a just war is a defensive war. A familiar strategy used to justify defensive war is to infer its permissibility from the case of self-defensive killing. I show, however, that the permission to defend oneself does not justify killing, but instead calls for nonviolent resistance. I conclude that on the account of self-defense I develop, the appropriate way to respond to a war of aggression is (...) not by prosecuting a defensive war, but by engaging in a form of nonviolence I call pacific resistance. (shrink)

This is a Reader's Guide to the most important and influential essays of Heidegger's later work, crucial to an understanding of his philosophy as a whole.Martin Heidegger is one of the most important thinkers of the twentieth century. His later writings are profoundly original and innovative, giving rise to much of postmodernist thinking, yet they are infamously difficult to approach. "Heidegger's Later Writings: A Reader's Guide" offers a concise and accessible introduction to eight of Heidegger's most important essays. These essays (...) cover many of the central topics of his later thought and are conveniently gathered in Basic Writings, making this Guide a perfect companion.Written specifically to help students coming to these texts for the first time, each chapter illuminates a particular essay's structure to enable readers to start finding their own way through the text. The book offers guidance on: Philosophical and historical context; Key themes; Reading the text; Reception and influence; And, further reading."Continuum Reader's Guides" are clear, concise and accessible introductions to key texts in literature and philosophy. Each book explores the themes, context, criticism and influence of key works, providing a practical introduction to close reading, guiding students towards a thorough understanding of the text. They provide an essential, up-to-date resource, ideal for undergraduate students. (shrink)

How should we talk to children about war? The basic story we tell them is that the world is split into good guys and bad guys, and that sometimes we have to kill the bad guys for the sake of justice. These stories of heroic killing teach children to train their attention on violence, and to interpret that violence as just or good. I show how this basic story – which also motivates much of our philosophical thinking about the morality (...) of war and killing, mostly notably just war theory – makes it difficult for us to consider and evaluate pacific alternatives. If we are to give children the space to develop their imagination, so that they can more genuinely engage with the possibilities of nonviolence and peace, then we must learn to tell a different story. (shrink)

Leading philosophers and scholars speculate on what Heidegger's unfinished masterpiece might have said, why Heidegger didn't publish it, and what being actually means.

The articles in this issue span across multiple media sectors, yet all focus on questions of credibility and engagement.Even some of the best public relations veterans will acknowledge that they ca...

In his theory of determination, Charles Peirce considered two processes of determination, the semiotic process and epistemology. The semiotic process is an extensional process from object to interpretant that consists of an infinite chain of references that can be spatially reversible. The epistemological process of determination is temporal and irreversible, where the idea grows into the individual mind, as the universe is unfolded by the agency of mind.

African Philosophy is a collection of previously unpublished essays that address epistemological and metaphysical concerns that have emerged from the sub-Saharan regions of Africa. The primary focus of the book is on traditional African conceptions of mind, person, personal identity, truth, knowledge, understanding, objectivity, and reality. The collection also discusses traditional African conceptions of causation, destiny, and free will.

Several prominent voices have called for a democratization of science through deliberative processes that include a diverse range of perspectives and values. We bring these scholars into conversation with extant research on democratic deliberation in political theory and the social sciences. In doing so, we identify systematic barriers to the effectiveness of inclusive deliberation in both scientific and political settings. We are particularly interested in what we call misidentified dissent, where deliberations are starkly framed at the outset in terms of (...) dissenting positions without properly distinguishing the kinds of difference and disagreement motivating dissent. (shrink)

This chapter contains sections titled: Background The Way Forward.

Volume 29, Issue 4, October-December, Page 209-209.

Volume 29, Issue 4, October-December, Page 209-209.

While much has been written on Latour’s politics and use of militaristic language, by attending to some of Latour’s lesser known or read writings, his political location within the traditional Left-Right spectrum becomes more discernable, as does the reason for his frequent resort to the language of war. This article does not seek to defend Latour’s politics or rhetoric, but to provide a corrective by incorporating, rather than taking distance from, his use of militaristic language. Doing so reveals an understanding (...) of Latour’s project as having always been—if not traditionally Left—charting a different Leftist approach. (shrink)

The ICD-11 personality disorder model is the first fully dimensional assessment of personality pathology. It consists of a personality disorder dysfunction-severity dimension, which encompasses both self- and interpersonal dysfunction, and six optional qualifiers for five prominent personality traits—Negative Affectivity, Detachment, Dissociality, Disinhibition, and Anankastia —plus a borderline pattern that is defined by the criteria of DSM-IV borderline PD. This article reports on the development of a new self-report measure to assess self- and interpersonal dysfunction and the five trait qualifiers. It (...) is the first comprehensive measure of the ICD-11 PD model in that it is the only one to include both PD dysfunction-severity as well as trait scales and because it is based on the Clinical Description and Diagnostic Guidelines, which are more detailed than the “statistical” model description that is currently on the ICD-11 website. The authors wrote 992 items and then reduced the pool to 300 items by eliminating redundancy and selecting the consensus best few items for each subconstruct. Data were collected using an online sample of 383 Prolific workers. Using exploratory factor analysis, seven domain scales were developed, each of which contained two to four scales assessing components of the domain. These preliminary scales’ psychometrics were excellent, as were the domains’ and their components’ convergent and discriminant validity, with a few generally minor exceptions. Structural analyses at the component level revealed a three-factor structure consisting of two moderately correlated Internalizing factors, one centered on Self Dysfunction with two NA components and a DSN component and the other on Interpersonal Dysfunction with DET and ANK components; as well as an Externalizing factor with DSL and a DSN component that was uncorrelated with the other two factors. Two aspects of the results in particular are striking: ANK was not the opposite end of a DSN dimension, but rather contributed to an Internalizing Interpersonal Dysfunction dimension and DSN had both an Internalizing and an Externalizing component. Implications of the findings and study limitations are discussed. (shrink)

In most general terms, my paper is about the mixture of agendas in the recording industry, where documentation, with its apparently educational implications, becomes difficult to distinguish from a range of distinct, even opposed, goals—which I group under the heading "fabrication." After a few historical remarks, I develop the concept of what I call works of phonography —that is, sound-constructs created by the use of recording machinery. I detail their ontological characteristics, as contrasted the features of ordinary musical works. WPs (...) are—I claim—replete. They are autographic. And they are phono-accessible—that is, accessible only through playbacks of authentic instances of their record artifacts, e.g., cassette tapes, CDs, etc. I then turn to Theodore Gracyk's recent study of rock music, arguing that his account is formally similar to my account of WPs. This raises the question of whether there be counter-examples to Gracyk's account—particularly of the sort that show his view to be too broad. I bring this to a focus finally by a comparison of rock recordings with jazz recordings—two classes that Gracyk tries to keep ontologically distinct. I argue that many classic jazz recordings are artifacts of the recording studio, no less than those Gracyk identifies as pure cases of rock music. In the same vein, I argue that, once recorded, the improvisational music of jazz is deformed—indeed, that it acquires features of WPs. This has the further implication that Gracyk cannot preserve his sharp distinction between rock and jazz records that he want's to maintain. (shrink)

In a society marked by liberal gun ownership laws, and an increasingly militarized police force, how should we think about cases where a homeowner shoots a person who has mistakenly knocked on the wrong door, or where a police officer shoots someone who is unarmed? The general tendency – by shooters, courts, and many observers – is to use the framework of self-defense. However, as I will argue, relying on the framework of self-defense is inappropriate in these cases, because theories (...) of self-defensive killing are built up around a very specific type of case, namely, a random, sudden, one-off encounter between roughly equally matched strangers. When a person who acts in self-defense has undertaken certain preparations to kill in self-defense – such as buying a gun, or undergoing certain kinds of training – they transform what would have been defensive violence into offensive violence. But because the self-defense framework distinguishes only between defensive and aggressive violence, it cannot easily register the unique moral features of offensive violence. Relying on the self-defense framework, then, produces judgments that are overly permissive of killings by gun owners and police, masking them as self-defensive when in fact they are much more morally fraught. (shrink)

When the odds of achieving world peace seem so long, do hopes for peace amount to anything more than wishful thinking? In this paper, I introduce the idea of meaningful hope, which can help us to u...

Malaysia had its first four patients with COVID-19 on 25 January 2020. In the same week, the World Health Organization declared it as a public health emergency of international concern. The pandemic has since challenged the ethics and practice of medicine. There is palpable tension from the conflict of interest between public health initiatives and individual’s rights. Ensuring equitable care and distribution of health resources for patients with and without COVID-19 is a recurring ethical challenge for clinicians. Palliative care aims (...) to mitigate suffering caused by a life-limiting illness, and this crisis has led to the awareness and urgency to ensure it reaches all who needs it. We share here the palliative care perspectives and ethical challenges during the COVID-19 pandemic in Malaysia. (shrink)

BackgroundIn the US, many patients forgo recommended care due to cost. The ANA Code of Ethics requires nurses to give care based on need. Therefore, US nurses are compelled to practice in a context which breaches their professional ethical code.Research ObjectivesThis study sought to determine if nurses do care for patients who forgo treatment due to cost (PFTDC) and if so, does this result in an experience of moral distress (MD).Research DesignSemi-structured interviews were transcribed and analyzed using a qualitative content (...) analysis.Participants and Research ContextA convenience sample of 20 nurses in practice for at least one year from a variety of health care setting participated.Ethical ConsiderationsThis project was approved by the Michigan State University Biomedical Institutional Review Board.ResultsThere were 19 female and one male nurse-participants, averaging 47 years old with an average of 10 years in practice. 18 reported caring for PFTDC. These 17 nurse-participants experienced a moderate degree of MD as a result, averaging 5.4 of 10 on the Moral Distress Thermometer. In the interviews, the following themes were identified, strategies to help PFTDC, and the broken US health care system which had the subthemes of preference for business over patient-oriented benefit, PFTDC using the emergency department, and limited support for treatment/management of PFTDC.ConclusionsThe existence of this phenomenon places the profession of nursing in the US in a position of moral compromise and threatens to corrupt the institution of nursing in the US. (shrink)

This collection is about how law makes meaning and how meaning makes law. Through clear methodology and substantial findings, chapters expose the deficits of 'literal' meaning and the difficulties in 'ordinary' meaning, in international legal contexts and in more immediate social ones, as well as in courtrooms. Further, chapters in this volume see the challenges to national and international commitments to all speakers sharing a common meaning.

This paper complicates, extends, and modifies Pinch and Bijker's original social construction of technology, specifically their concepts of relevant social groups, closure, and stabilization, in order to gain insight into long-term processes of how we use and understand technology. First, this paper identifies four broad categories of relevant social groups in the social construction of technology based on stake holdings and compares them according to their activities, resources, and directionality. Second, the paper discusses the distinctions between closure and stabilization of (...) technological artifacts, introducing temporary closure and structural flexibility as a means of understanding how different technologies can relate to each other. Third, using Rosch's cognitive approach to categorization, the paper suggests structural flexibility as a means of operationalizing stabilization. These reconceptualizations offer researchers a broader scale with which to understand the social construction of technology. (shrink)

Within a context of rapid growth and diversification in higher degree research programs, there is increasing pressure for the results of doctoral research to be made public. Doctoral students are now being encouraged to publish not only after completion of the doctorate, but also during, and even as part of their research program. For many this is a new and challenging feature of their experience of doctoral education. _Publishing Pedagogies for the Doctorate and Beyond_ is a timely and informative collection (...) of practical and theorised examples of innovative pedagogies that encourage doctoral student publishing. The authors give detailed accounts of their own pedagogical practices so that others may build on their experiences, including: a program of doctoral degree by publication; mentoring strategies to support student publishing; innovations within existing programs, including embedded publication pedagogies; co-editing a special issue of a scholarly journal with students; ‘publication brokering’, and writing groups and writing retreats. With contributions from global leading experts, this vital new book: explores broader issues pertaining to journal publication and the impacts on scholarly research and writing practices for students, supervisors and the academic publishing community takes up particular pedagogical problems and strategies, including curriculum and supervisory responses arising from the ‘push to publish’ documents explicit experiences and practical strategies that foster writing-for-publication during doctoral candidature. _Publishing Pedagogies for the Doctorate and Beyond_ explores the challenges and rewards of supporting doctoral publishing and provides new ways to increase research publication outputs in a pedagogically sound way. It will be a valued resource for supervisors and their doctoral students, as well as for program coordinators and managers, academic developers, learning advisors, and others involved in doctoral education. (shrink)

This volume explores the role of some of the most prominent twentieth-century philosophers and political thinkers as teachers. It examines what obstacles they confronted as teachers and how they overcame them in conveying truth to their students in an age dominated by ideological thinking.