O presente artigo trata da arte de escutar, apontando sua carência em nosso cotidiano, assim como alguns dos obstáculos a seu cultivo. Demonstra o quanto a filosofia clínica se faz necessária devido a tal carência, e levanta a hipótese de um papel relevante para a escuta atenta ao trabalho do sacerdote, assim como a possibilidade dele, através de seu trabalho, suscitá-la na comunidade.

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined performative utopias. It is (...) through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

A partir de la lectura de Une mort très douce, novela autobiográfica de Simone De Beauvoir, me propondré en este trabajo reflexionar sobre la noción merleau-pontiana de cuerpo vivido, particularmente en la experiencia del dolor. Más allá de las diferencias filosóficas específicas que la autora posee con Merleau-Ponty, me centraré en los préstamos que, efectivamente, ha tomado del fenomenólogo francés. Considero que Une mort très douce es un relato ejemplar que permite iluminar y profundizar algunas cuestiones que no han sido (...) lo suficientemente desarrolladas por Merleau-Ponty, a saber, la especificidad del estatus del cuerpo fenoménico sufriente hospitalizado, en una situación de enfermedad terminal. A su vez, la novela invita a reflexionar a partir de los límites establecidos entre normalidad/patología, y saber vulgar/saber científico presentados por Georges Canguilhem, que se articulan con la dimensión económica y política de la medicina como institución, señalada por Michel Foucault. Asimismo, en este texto la situación experiencial de la enfermedad permite a la filósofa revisitar su propio pensamiento desde una perspectiva más empática respecto de ciertas cuestiones sobre la maternidad sostenidas en Le deuxième sexe. De algún modo, el proceso de agonía de una persona se extiende intercorporalmente a quien está bajo su cuidado: así, este relato sobre el dolor es especialmente ilustrativo para señalar, con Merleau-Ponty, la imposibilidad de reducir el cuerpo a una descripción en tercera persona. (shrink)

É provável que eu morra nos próximos dez, quinze, anos- Tenho filhos e netos, amei e fui amada, escrevi livros, ouvi música e viajei- Poderia dar-me por satisfeita, o que não me faz encarar a morte com placidez- Se amanhã um médico me disser que sofro de.

Los elementos básicos sobre los que se asienta esta contribución son; Por un lado, el reconocimiento de las características básicas de los instrumentos de soft law y la apreciación de su desnaturalización. Y, por otro lado, el análisis del fenómeno expansivo del Derecho penal y su vinculación con la globalización y la sociedad del riesgo. Su análisis conjunto me permitirán determinar la efectiva incidencia del soft law en la expansión del Derecho penal, a la luz de lo sucedido en el (...) caso del autoblanqueo de capitales, que aunado a la tipificación de las conductas de utilizar y poseer, y siendo considerado como delito previo el fraude fiscal genera importantes quiebras en uno de los principios más básicos y elementales del Derecho penal del Estado de Derecho, esto es, el principio non bis in idem. (shrink)

Resumen Me propongo aclarar la noción de “fenómeno” de Jean-Luc Marion y su relación con la categoría de “fenómeno saturado”. Para ello discutiré las interpretaciones de algunos comentaristas que advierten tensiones entre la primera y la segunda tópica del fenómeno.I aim to clarify Jean-Luc Marion’s notion of “phenomenon” and its relationship with the category of “saturated phenomenon”. To this end I discuss the interpretations of some commentators who point out tensions between the first and the second topic of the phenomenon (...) presented. (shrink)

Reconocida especialista en el tema, la Dra. Mónica Gordillo accedió a conversar con nosotras a propósito del 50 aniversario del Cordobazo, a pocos días de finalizadas las Jornadas que con el mismo motivo, y bajo su impulso, se celebraron en la ciudad de Córdoba en el mes de mayo de este año.

PART 9: GRAVITY'S ETHICSThis isn't a hospital! It's an insane asylum! And it's your fault! Shaking her head lightly, Doctor Van Tintelen leaves the room and softly closes the door. Empathy streaming through her veins, she never gets used to the unpolished grief of a patient she has to tell of inevitable death, never. She thinks, “There should be pipes to drain the tears in every room, or at least rinsing basins for grief. What a job.” The crying is that (...) of the sisters Barrio. Miranda and Monica are twins who always refer to themselves as M&M. Though Monica cries the hardest, it is Miranda who was just told that her breast cancer has spread into her liver. No more treatment available.“Don't cry, Monica, I took the risk purposely. We both knew breast cancer runs in our family. You had the test, I didn't.”“And now you see the result, Miranda, you are going to die. We aren't even fifty yet. Damn.” The irony is that the clock in the room doesn't work, its pointers silent and stiff.“Do you really think you are better off? I've never completely understood why you had the preventive double mastectomy.”“I have never felt less of a woman. You know that.”“I know, but some men felt differently about it.”The remark hurts Monica almost physically, and Miranda apologises immediately. “Sorry, sweetheart, I shouldn't have said that. The sisters embrace for the hundredth time.”“Maybe I was too much of a coward,” Miranda says, resigned, “or too proud of my breasts.” For a second she lifts the big breasts sadly with her hands. Cynically: “After all, they were my trumps in eroland.”“A coward? You? How about me?” Monica seems to calm down somewhat. “I was too afraid of the continual fear …. (shrink)

Gleeson, Brian Let me introduce this topic by referring to wise words of Monica Hellwig about the human situation, before delving into the light and inspiration given in the pre-historical Genesis accounts of the sinfulness of human beings, their inclination to evil, and their need for divine deliverance, and especially in its third chapter. Says Hellwig: The reason that grace is absolutely necessary for a good life and for the salvation of each human person is clear. The world in (...) which we live is not one that helps everyone to lead a good life. The world is quite seriously disrupted with wars, class struggles, crimes of violence, crimes of fraud and deceit, racial injustices, and a pervading distrust. Many people in our world feel unwanted and unnoticed, perhaps even rejected by the society that gave them their existence. There are times for even the most fortunate among us when we feel that our whole being is set at cross purposes with the universe. (shrink)

In “Unarticulated Comparison Classes” 2018 [2009], Richard Vallée adopts John Perry’s (2012 [2001]) reflexive-referential theory of meaning and content as well as his concept of unarticulated constituents (Perry 1986) to deal with certain context-sensitive elements of the truth-conditions of statements containing relative gradable predicates. I am sympathetic both with the general framework and with the assumption that unarticulated constituents are involved in the truth-conditions of bare positives such as “Monica is tall.” I do not share, however, Vallée’s main conclusions (...) on the examples he provides as pre-theoretical evidence. This leads me to disagree with some details of his proposal for the semantics and pragmatics of relative gradable adjectives. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In the article Should rare diseases get special treatment? by Monica Q F de Magalhaes,1 it is argued that rarity is not a morally relevant feature to consider in prioritising treatment in healthcare, but severity is. A central conclusion in the article is that severity rather than prevalence should guide different cost-effectiveness thresholds. Hence, I take it, she answers no to the question in her own heading. I agree with all of this—and with most of her other arguments and (...) conclusions in the article—except for the clause ‘rather than prevalence’. For this reason, I find the article misses its’ mark. Let me explain by taking Sweden as an example. Sweden has a legally established ethics framework for priority setting in healthcare since 1997, comprising three principles: human-dignity principle, needs-solidarity principle and cost-effectiveness principle. The implication of these principles in practice is that the higher the severity—the higher the cost-effectiveness threshold acceptable.2 During the last 10 years or so, the highest accepted cost-effectiveness threshold for the most severe conditions have been in the order of €100 000/QALY. Until a few years ago rarity or prevalence was …. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Phantom Mediators: Reflections on the Nature of the Violence in AlgeriaRéda Bensmaïa (bio)Translated by Hassan MelehyIn order to justify himself, each person depends on the crime of the other. There is a casuistry of blood where an intellectual, it seems to me, has no place, except to take up arms himself. When violence responds to violence in an exasperating delirium that makes the simple language of reason impossible, (...) the role of intellectuals cannot be, as we read every day, to excuse from afar one act of violence and condemn another, which has the effect both of angering the one condemned of violence to the point of rage and of encouraging the one who is not condemned to more violence. If they themselves don’t join the combatants, their role (a more obscure one, to be sure!) must be only to work in the direction of an appeasement so that reason may again have a chance.—Albert Camus, Actuelles IIIAt a secondhand bookstore in Santa Monica, I found a story by Friedrich Torberg: “Mein ist die Rache” (“Vengeance is Mine”). The author describes the sadistic practices of a concentration-camp commandant in 1943 who drives a group of Jewish prisoners to commit suicide one after the other. It is almost unbearable to read. One reader, apparently an emigré German Jew, added some bitter marginal notes after the war. On the last page this reader penciled in, “America is full of Jews who love Germany and long for it.”The night after I read this book, a question occurred to me that has stayed on my mind ever since and that I want to pass on to you: What would we all give, each one of us, each individual German, for this not to have happened? It’s a”pan-German” question. Perhaps we will know something more about ourselves if each one of us tries to answer it individually, as honestly and above all as concretely as possible. And doesn’t it lead to three other questions that are worrying us?: What was? What remains? What will be?—Christa Wolf, “Parting from Phantoms”A few weeks after reading Christa Wolf’s text, the same questions continue to haunt me. “Pan-Maghrebian” questions: what would we be willing to give, each one of us, each Algerian in any case, for what is happening now never to have occurred?What was? What remains? What will be? These are the questions that have guided me in the different steps of writing the text I offer here.In the very fine article he contributed under the heading of “The Intellectual and Society” to the Encyclopaedia Universalis, philosopher François Châtelet wrote, “If we confine ourselves to the three historical groups we have arbitrarily taken as examples—the Greek sophist, the ‘judge’ of the Russell Tribunal, and the eighteenth-century philosopher, it is clear that the would-be intellectual claims to be the teacher and the advocate of political [End Page 85] freedom, of the rights of the person, the architect of a transparent society in which the individual and the citizen coincide.“Doubtless,” added Châtelet, “one aspect or another prevails on him, according to the circumstances; but a certain structure subsists, which may allow us to define, superficially and differentially, intellectuals as a group and an agency” [my emphasis].Beginning with this definition, I would like to examine the following questions: What is the status of intellectuals in a country like Algeria? How can it be explained that they have been and still are the victims of the violence that strikes them today?Given the current situation of international politics, the example of Algeria is inevitable, because in the opinion of numerous analysts what is happening in that country is a test case, a limit case that may serve as an indicator of what the future holds for the formerly colonized countries. For many analysts, the evolution of the political situation in Algeria may also serve as an analytical operator in the large ideological movements that are shaking not only the countries of the Maghreb but also the Arab-Muslim world in its totality. And in... (shrink)

Daly, Brendan People place great value on the prayers of priests, and often ask priests to pray for them or family members. St Monica told her son St Augustine just before her death not to worry about burying her in Ostia, away from her native land. Then she said, 'Lay this body anywhere, and do not let the care of it be a trouble to you at all. Only this I ask: that you will remember me at the Lord's (...) altar, wherever you are'.1 She realised the value of the prayers of a priest. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rhetoric and PluralismAndrea A. LunsfordRhetoric and Pluralism, ed. Frederick J. Antczak; xii & 336 pp. Columbus: Ohio State University Press, 1995, $59.50.In his (non)conclusion to this volume’s witty Afterword, Wayne Booth remarks on the need to “improve our inquiry into how we inquire together” (p. 307). The fifteen essays collected in Rhetoric and Pluralism are enthusiastically engaged in this project. Although often strikingly different in their methodologies and (...) assumptions, keeping company with Wayne Booth has allowed the contributors to practice—and to try to improve—what inquiry they would preach. Frederick J. Antczak opens with a brief introduction that previews the five sections to come: “Situating Booth”; “Ethics and Fictions”; “Rhetoric and Politics”; “Booth across Disciplines”; and “Booth, Assent, and Argument.” Booth’s Afterword is followed by Lee Artz’s bibliography of Booth’s work.For readers primarily interested in rhetoric, Walter Jost’s “Teaching the Topics: Character, Rhetoric, and Liberal Education” provides a thoughtful exploration of Booth’s contributions to a theory of special topics as well as a strategy for using this theory as a means of integrating liberal education. Those more interested in philosophy may turn first to Alan Brinton’s rereading of Booth’s Modern Drama and the Rhetoric of Assent against Brinton’s own understanding of the Cartesian tradition, or to James McOmber’s comparison of Booth, Richard Rorty, and Paul Feyerabend in “Rhetoric without Sophistry.” And those with a primary interest in teaching should be pleased to find that [End Page 276] subject given strong treatment here in Francis-Noel Thomas’s use of Booth’s practice of criticism, and its relationship to the work of all teachers of English, in taking on advocates of a narrowly-conceived cultural literacy. Patsy Callaghan and Ann Dobyns use a Boothian ethics of argument to inform the teaching of first-year English classes.Literature, of course, is featured throughout. Monica Johnstone arrestingly reads Genet’s Querelle against the evaluative model Booth elucidates in The Company We Keep; Susan Shapiro tests Boothian ethical criticism in the case of Elie Wiesel’s post-Holocaust fiction; and Antczak discusses Martin Luther King’s “Pilgrimage to Nonviolence.” Two essays, one by Don Bialostosky and one by David Richter, relate Booth’s work to Bakhtinian principles, though with very different ends and effects. Finally, those who wonder whether Booth’s brand of pluralism shies too far away from a rigorous encounter with politics will gain from James Phelan’s careful and convincing extension of Booth’s evaluative criticism and from Barbara Foley’s insistence that Booth’s system of ethical criticism too often ignores or elides issues of class and race.The richest section of this text for me, however, focuses on “Booth across Disciplines.” In three remarkably provocative and highly readable discussions, Peter Rabinowitz, Donald McCloskey, and Eugene Garver take Booth on the road, applying or extending his work to an analysis of the ethics of music (Rabinowitz), the rhetoric of economics (McCloskey), and the significance of the implicit, of “What Goes Without Saying: in Francis Bacon’s Essays (Garver). One mark of important thinkers is surely that they enable creativity, that their thinking sparks the thoughts of many others. Throughout this volume, but particularly in this section, that mark of Booth’s influence is palpably evident.As I read through Rhetoric and Pluralism, and especially when I came to Booth’s playful and multivocalic Afterword, I kept wishing that someone had contributed a piece of oral history to this volume: Booth is still working, still working hard, and there are many more of his range of selves available to us in his spoken voice. Finally, I longed for a detailed analysis of some of Booth’s playful and ironic pieces, which come in for some mention here and there but are not featured in any essay. This openness to play, so much a part of the rhetorical tradition and so necessary to any ethics of postmodernity, is another of Booth’s gifts to all readers.Andrea A. LunsfordOhio State UniversityCopyright © 1996 The Johns Hopkins University Press... (shrink)

It is frequently argued that home birth is morally irresponsible because it involves the taking of risks on behalf of the fetus. Against this position, I argue three things. First, the fact that home birth involves risks does not necessarily entail that choosing or attending one is morally unacceptable, irresponsible or wrong. Second, parents have a prima facia prerogative to decide on behalf of their fetuses and children whether risks should be taken. While this prima facia prerogative can be overridden, (...) reasonable and widely accepted criteria for doing so are not met in the case of home birth. Third, since the current attitudes and behaviours of physicians with regard to home birth constitute a de facto morally and socially unjustifiable overriding of an informed parental decision, physician autonomy should be restricted so as to preserve the autonomy of the medical consumer. (shrink)

As a neonatal neurologist, I serve families facing tragic decisions in which they must balance trade-offs between death and life with profound disability. I often find myself in complex discussions about future outcome, in which families sort through in real-time what information they value most in making such a choice. Will he laugh? Will he be in pain? Will he know how much he’s loved? In this month’s feature article, Brick et al share the results of an online survey aimed (...) at assessing public views on when a life is not worth living, in an effort to inform ongoing legal and clinical debates about withdrawal of life-sustaining treatment for children. These findings raise important questions about how we define and measure outcomes that matter to parents as they make these tragic decisions. It is challenging to interpret these findings in the absence of context of how decision-making for infants occurs in real-time. The nature of this study and its objective required that cases be substantially simplified. As the authors acknowledge, the prognoses and function of the children involved in these cases were often deeply contested. Prognostic uncertainty is common for children with significant …. (shrink)

This paper examines folk theories of algorithmic recommendations on Spotify in order to make visible the cultural specificities of data assemblages in the global South. The study was conducted in Costa Rica and draws on triangulated data from 30 interviews, 4 focus groups with 22 users, and the study of “rich pictures” made by individuals to graphically represent their understanding of algorithmic recommendations. We found two main folk theories: one that personifies Spotify and another one that envisions it as a (...) system full of resources. Whereas the first theory emphasizes local conceptions of social relations to make sense of algorithms, the second one stresses the role of algorithms in providing a global experience of music and technology. We analyze why people espouse either one of these theories and how these theories provide users with resources to enact different modalities of power and resistance in relation to recommendation algorithms. We argue that folk theories thus offer a productive way to broaden understanding of what agency means in relation to algorithms. (shrink)

Ethical leadership matters in the context of organizational change due to the need for followers to trust the integrity of their leaders. Yet, there have been no studies investigating ethical leadership and organizational change. To fill this gap, we introduce a model of the moderating role of involvement in change. Organizational change and involvement in change are proposed as context-level moderators in the relationships of ethical leadership and work-related attitudes and performance. We employ a sample of 199 supervisor–subordinate pairs from (...) a wide variety of organizations. Results support a three-way interaction (ethical leadership, organizational change, and involvement in change) for performance and OCBs. Our results have important implications for organizational change since ethical leadership appears to complement follower involvement when change is happening. (shrink)

A serious problem confronting discourses on recognition is that of showing equal respect for citizens’ diverse cultural identities whilst at the same time attending to feminist concerns. This article focuses on the complex issues emerging from the recent legislation prohibiting the Muslim veil in French state schools. I respond to these problems by defending two conditions of a postcolonial and feminist approach to the politics of recognition. This approach should be, first, transformative, in the sense of widening its conception of (...) core values through an engagement with cultural difference. Second, it should be critical in its orientation to practices affecting women adversely within any social group. An integration of these concerns is proposed in terms of ‘affective citizenship’. This approach supports the different components of women’s autonomous functioning, through a universalistic commitment to the creative expression of their hybrid identities. (shrink)

Through cultural transmission, repeated learning by new individuals transforms cultural information, which tends to become increasingly compressible . Existing diffusion chain studies include in their design two processes that could be responsible for this tendency: learning and reproducing . This paper manipulates the presence of learning in a simple iterated drawing design experiment. We find that learning seems to be the causal factor behind the increase in compressibility observed in the transmitted information, while reproducing is a source of random heritable (...) innovations. Only a theory invoking these two aspects of cultural learning will be able to explain human culture's fundamental balance between stability and innovation. (shrink)

Gadamer's Ethics of Play examines the ethical dimensions of understanding by focusing on the concept of dialogical "play" in Hans-Georg Gadamer's Truth and Method. The book is accessible to an undergraduate audience, while also being relevant to ongoing debates among Gadamer scholars.

The results in this paper are in a context of abstract elementary classes identified by Shelah and Villaveces in which the amalgamation property is not assumed. The long-term goal is to solve Shelah’s Categoricity Conjecture in this context. Here we tackle a problem of Shelah and Villaveces by proving that in their context, the uniqueness of limit models follows from categoricity under the assumption that the subclass of amalgamation bases is closed under unions of bounded, -increasing chains.

The term ‘vitalism’ is most readily associated with a series of debates among 18th- and 19th-century biologists, and broadly with the claim that the explanation of living phenomena is not compatible with, or is not exhausted by, the principles of basic sciences like physics and chemistry. Scientists and philosophers have continued to address vitalism - mostly in order to reject it - well into the second half of the 20th century, in connection with classic concepts such as mechanism, reductionism, emergence, (...) complexity and artificial intelligence, and in connection with approaches such as information theory and cybernetics. This article problematizes and transforms the claim that vitalism is obsolete by evaluating it diachronically, in the spirit of the historian and philosopher of medicine, Georges Canguilhem. It discusses the contrast between classical vitalism and Canguilhem’s own claim that vitalism is ‘an imperative rather than a method and more of an ethical system, perhaps, than a theory’. At the same time, it argues that Canguilhem’s position cannot be reduced to a ‘polemical vitalism’ devoid of compromising references to reality or ontology. In relation to contemporary forms of engagement between social theory and biotechnoscience, Canguilhem’s vitalism continues to provide the critical corrective that is proper to its ‘vitality’. (shrink)

Blockchain is an open digital ledger technology that has the capability of significantly altering the way that people operations operate in organizations. This research takes a first step in proposing several ways in which the blockchain technology can be used to improve current organizational practices, while also considering the ethical implications. Specifically, the paper examines the role that blockchain technology plays in three primary areas of people operations: entry to the organization, intraorganizational processes, and exit. In each section, the paper (...) reviews the ethical implications from the lenses of virtue ethics, utilitarianism, deontology and contractarianism. The paper concludes that in whole the implementation of blockchain technology in people operations processes can create a more ethical work environment. However, careful implementation is necessary and requires extensive examination of ethical implications in advance. (shrink)

Volume 19, Issue 5, May 2019, Page 62-63.

In this paper, I present a framework where possible relations between learning and mental models are explored. In particular, I’ll be concerned with non-symbolic gestures accompanying discourse and their role in inducing the construction of models and therefore deep comprehension and learning in the listener. Also, I’ll be concerned with cognitive and socio-cognitive conflicts and their roles in inducing construction of alternative models of a problem and therefore in learning to reason. Human ability to learn is of great importance for (...) individuals interested in change. Indeed, to learn both declarative and procedural knowledge means to change, and in order to be able to intervene on change in a desired way it is necessary to have a theory of the mental representations and processes involved in learning and a theory of the communication and contexts that favour learning. (shrink)

Representation is integral to the functioning and legitimacy of modern government. Yet political theorists have often been reluctant to engage directly with questions of representation, and empirical political scientists have closed down such questions by making representation synonymous with congruence. Conceptually unproblematic and normatively inert for some, representation has been deemed impossible to pin down analytically and to defend normatively by others. But this is changing. Political theorists are now turning to political representation as a subject worthy of theoretical investigation (...) in its own right. In their effort to rework the theory of political representation, they are also hoping to impact how representation is assessed and studied empirically. This volume gathers together chapters by key contributors to what amounts to a "representative turn" in political theory. Their approaches and emphases are diverse, but taken together they represent a compelling and original attempt at re-conceptualizing political representation and critically assessing the main theoretical and political implications following from this, namely for how we conceive and assess representative democracy. Each contributor is invited to look back and ahead on the transformations to democratic self-government introduced by the theory and practice of political representation. Representation and democracy: outright conflict, uneasy cohabitation, or reciprocal constitutiveness? For those who think democracy would be better without representation, this volume is a must-read: it will question their assumptions, while also exploring some of the reasons for their discomfort. Reclaiming Representation is essential reading for scholars and graduate researchers committed to staying on top of new developments in the field. (shrink)

Discussions of the framework and terminology associated with the right to health tend to treat the indeterminacy of ‘health’ as conceptual noise that the construction of effective policy must not focus on, but find ways of bracketing out. On this basis, the right to health is broadly regarded as a social and economic, rather than a civil and political right. This article draws critically on literature about the implications of developments in medical biotechnologies, to argue that a positive acknowledgement of (...) the indeterminate character of health should transform, rather than simply hinder, the quality of debate over what is to be understood and expected in connection with a right to health. A focus on indeterminacy allows for the perception and the formulation of health-related demands that may not stem from the scarcity of material resources or technical means, but from the misplaced authority of particular voices in defining what possibilities are to be seriously envisaged. This proposition only becomes politically effective, it is argued, when ‘indeterminacy’ (and the capacity for normativity) is referred to life itself and not merely to social and moral judgements about life. Although more immediately pertinent to the concerns of relatively privileged populations, the focus on indeterminacy provides a key to generating a certain symmetry and complementarity of interest, across the privileged/underprivileged divide, in promoting health as a (human) right. (shrink)

In the paper “Categoricity in abstract elementary classes with no maximal models”, we address gaps in Saharon Shelah and Andrés Villavecesʼ proof in [4] of the uniqueness of limit models of cardinality μ in λ-categorical abstract elementary classes with no maximal models, where λ is some cardinal larger than μ. Both [4] and [5] employ set theoretic assumptions, namely GCH and Φμ+μ+).Recently, Tapani Hyttinen pointed out a problem in an early draft of [3] to Villaveces. This problem stems from the (...) proof in Shelah and Villavecesʼ [4] that reduced towers are continuous. Residues of this problem also infect the proof of Proposition II.7.2 in VanDieren [5]. We respond to the issues in Shelah and Villaveces [4] and VanDieren [5] with alternative proofs under the strengthened assumption that the abstract elementary class is categorical in μ+. (shrink)

Orphan drug policy often gives ‘special treatment’ to rare diseases, by giving additional priority or making exceptions to specific drugs, based on the rarity of the conditions they aim to treat. This essay argues that the goal of orphan drug policy should be to make prevalence irrelevant to funding decisions. It aims to demonstrate that it is severity, not prevalence, which drives our judgments that important claims are being overlooked when treatments for severe rare diseases are not funded. It shows (...) that prioritising severity avoids problems caused by prioritising rarity, and that it is compatible with a range of normative frameworks. The implications of a severity-based view for drug development are then derived. The severity-based view also accounts for what is wrong with how the current system of drug development unfairly neglects common diseases that burden the developing world. Lastly, the implications of a severity-based view for current orphan drug policies are discussed. There are no data in this work. (shrink)