Leading feminist scholars have been brought together for the first time in this comprehensive volume to reveal the complexity of feminist engagements with the exponentially growing cosmetic surgery phenomenon. Offering a diversity of theoretical, methodological and political approaches Cosmetic Surgery: A Feminist Primer presents not only the latest, cutting-edge research in this field but a challenging and unique approach to the issue that will be of key interest to researchers across the social sciences and humanities.

The plays written about AIDS in the past dozen years form a radical canon establishing gay men as the locus for public attention. These plays have been all but silent in their representation of women with AIDS. This article examines the marginalized women in early plays such as The Normal Heart and As Is, and the women more central to later plays such as The Baltimore Waltz, Before It Hits Home, and Patient A. It foregrounds some of the most problematic (...) issues surrounding the AIDS virus: the perception of women as vectors of disease for men and unborn children, the insistent representation of women as mothers and caregivers, and the denial of patterns of abuse, sexual exploitation, and poverty which contribute to the marginalization of woman and people of color. (shrink)

In this article I set out an argument that skins and screens, once distinctly different types of surface, are merging. I show how in contemporary highly mediatized worlds skins are required to be visually expressive while also noting a parallel movement whereby screens are becoming more affective. Using the ‘designer vagina’ – specifically labiaplasty – as a case study I show how ideal bodies exist simultaneously as screen and as skin, as image and as affect. In turn, I argue that (...) two-dimensional images and three-dimensional ‘real life’ bodies are blending in ways that parallel skin–screen mergers. (shrink)

Prinz claims that empirical work on emotions and moral judgement can help us resolve longstanding metaethical disputes in favour of simple sentimentalism. I argue that the empirical evidence he marshals does not have the metaethical implications he claims: the studies purporting to show that having an emotion is sufficient for making a moral judgement are tendentiously described. We are entitled to ascribe competence with moral concepts to experimental subjects only if we suppose that they would withdraw their moral judgement on (...) learning that they were fully explained by hypnotically induced disgust. Genuine moral judgements must be reason-responsive. To capture the reason-responsiveness of moral judgement, we must turn to either neo-sentimentalism or to a non-sentimentalist metaethics, either of which is fully compatible with the empirical evidence Prinz cites. (shrink)

Interpreting crises and transformative processes as complex and rhythmic phenomena A webinar with Prof. Michel Alhadeff-Jones - Sciences de l'éducation et de la formation.

The objective of this study—a substudy to a phase I bioequivalence study—was to compare the effect of standard and concise consent forms on research volunteers’ comprehension of and satisfaction with consent forms, as well as to assess the effect of select volunteer characteristics, such as financial motivations to participate in research, on their comprehension. A 36-item questionnaire measured volunteers’ comprehension, satisfaction, and motivations for participation. Volunteers were randomized to the standard Pfizer consent form or a concise, easier-to-read form. We approached (...) 139 volunteers to participate, and 138 completed the questionnaire . The cohorts did not differ in sociodemographic characteristics. We found that the average comprehension scores for the standard consent form cohort and the concise consent cohort were about the same, and that satisfaction with the consent form was high in both cohorts. Surprisingly, volunteers with a financial motivation had significantly greater comprehension of the study. (shrink)

This paper argues that many ethical issues in neuroeducational research cannot be appropriately addressed using the principles and guidance available in one of these areas alone, or by applying these in simple combination. Instead, interdisciplinary and public dialogue will be required to develop appropriate normative principles. In developing this argument, it examines neuroscientific and educational perspectives within three broad categories of ethical issue arising at the interface of cognitive neuroscience and education: issues regarding the carrying out of interdisciplinary research, the (...) scrutiny and communication of findings and concepts, and the application of research and associated issues of policy likely to arise in the future. To help highlight the need for interdisciplinary and public discussion, we also report the opinions of a group of educators (comprising trainee teachers, teachers and head teachers) on the neuroeducational ethics of cognitive enhancing drugs, infant screening, genetic profiling and animal research. (shrink)

The present research was designed to test whether the subjective experience of more effort related to more reward valuation as measured by a neural response. This prediction was derived from the theory of cognitive dissonance and its effort justification paradigm. Young adult participants (n = 82) engaged in multiple trails of a low or high effort task that resulted in a loss or reward on each trial. Neural responses to the reward (loss) cue were measured using EEG, so that the (...) event-related potential known as the Reward Positivity (RewP) could be assessed. Results revealed no significant differences between low and high effort conditions on the RewP. However, within the high effort condition, a more subjective experience of effort was associated with a larger RewP. This research extends past research on the effort justification paradigm of cognitive dissonance theory by suggesting that effort justification is associated with an implicit measure of reward valuation. It therefore challenges recent perspectives on dissonance processes that posit that these evaluative changes should only occur on explicit but not implicit measures. (shrink)

The paper examines the sudden disappearance in the United States of millions of honeybees in managed bee colonies. The major research undertaken in the U.S. concentrates on finding the pathogens responsible. This paper suggests an alternative avenue of research a) that as a result of global warming there is a disjunction between bees pollinating cycles and the life cycle of plants b) that understanding changes in “timing cycles” as a result of global warming is the key to understanding the disappearance (...) of the bees. It notes that Gregory Bateson argued that any condition of ecosystem collapse would be characterized first by a collapse in its communicative order rather, than from changed physical states. The collapse of bee colonies and demise of other pollinators is a seeming confirmation of Gregory Bateson argument. Honeybees are ‘go betweens’ in ecosystemic order. It also argues that an appropriate topology of timing cycles and their recursions would enable better visual comprehension of the heterarchical ‘pattern which connects’, in Bateson’s phrase, and prompt awareness of possible catastrophe in human food supplies. (shrink)

What is absolutely unrestricted quantification? We distinguish two theoretical roles and identify two conceptions of absolute generality: maximally strong generality and maximally inclusive generality. We also distinguish two corresponding kinds of absolute domain. A maximally strong domain contains every potential counterexample to a generalisation. A maximally inclusive domain is such that no domain extends it. We argue that both conceptions of absolute generality are legitimate and investigate the relations between them. Although these conceptions coincide in standard settings, we show how (...) they diverge under more complex assumptions about the structure of meaningful predication, such as cumulative type theory. We conclude by arguing that maximally strong generality is the more theoretically valuable conception. (shrink)

This paper has already been published in the European Journal for Research on the Education and Learning of Adults, Vol. 12, No. 3 : Learning in times of crisis.: The aim of this paper is to problematize and enrich the use of the concept of crisis in adult education to theorize further its contribution to the study of transformative processes. This paper discusses first the implications inherent in the adoption of event-based and processual approaches to crises. It seeks - Sciences (...) de l'éducation et de la formation – Nouvel article. (shrink)

This chapter contains sections titled: Introduction: Complexity versus Complexities Etymological Roots Contemporary Genesis First Generation Second Generation Third Generation Keeping Complexity Complex Towards a New Form of Critique? Notes References.

This paper is about rewilding and the tensions it involves. Rewilding is a relatively novel approach to nature conservation, which seeks to be proactive and ambitious in the face of continuing environmental decline. Whilst definitions of rewilding place a strong emphasis on non-human agency, it is an inescapably human aspiration resulting in a range of social conflicts. The paper focuses on the case study of the Cambrian Wildwood project in Mid Wales (UK), evaluating the ways in which debate and strategic (...) action to advance rewilding is proceeding, assessing the extent to which compromise and learning has occurred amongst advocates. As such, we provide an important addition to the field, by detailing how conflicts play out over time and how actors' positioning and approach shifts, and why. In this case, tempers have flared around the threat that rewilding is seen to pose to resident farming communities. Tensions discussed include the differing social constructions of landscape and nature involved; the distribution of impacts on different stakeholders; and the relative power of different actors to make decisions and gain representation. Responding to these, the paper outlines how rewilding advocates have sought to advance a more peopled and culturally responsive vision, which seeks to champion sustainable livelihood strategies. The changes in approach detailed demonstrate a reflexive stance from rewilders, which suggests that learning and adaptation can occur. Nonetheless, caution is expressed regarding the extent to which rewilding can truly advance inclusive opportunities for rural change, given a continued return amongst stakeholders to exclusionary narratives of belonging and authenticity, suggesting substantive difficulty in moving beyond longstanding concerns over identity and the re-imagination of place. Rewilding, it would seem, is about who we think we are and how we co-constitute our sense of self. We, therefore, close by arguing that tactics and politicking can only have so much bearing, tensions over rewilding are unavoidably emotional. (shrink)

Scholars are divided as to whether reduction should be a central strategy for understanding the world. While reductive analysis is the standard mode of explanation in many areas of science and everyday life, many consider reductionism a sign of “intellectual naivete and backwardness.” In this paper I make three points about the proper status of anti-reductionism: First, reduction, is, in fact, a centrally important epistemic strategy. Second, reduction to physics is always possible for all causal properties. Third, there are, nevertheless, (...) reasons we want science to discover properties and explanations other than reductive physical ones. (shrink)

The current consensus in Locke scholarship is that Robert Boyle anticipated Locke's thesis that classification into species is the arbitrary work of the understanding. In fact, according to Michael Ayers, inter alia, not only did Boyle and Locke both think that classification is the workmanship of the understanding but that this thesis follows directly from the mechanical hypothesis itself. In this paper I argue that this reading of Boyle is mistaken: Locke's thesis on classification was not anticipated by Boyle. I (...) will do this by showing that Boyle's account of classification is not Locke's, but is a more realist view of natural species employing a mechanically respectable account of natural forms. (shrink)

The action-based model of cognitive dissonance proposes an adaptive function for rationalization that differs from the one offered by Cushman. The one proposed by Cushman is concerned more with the cold construction of cognitions, whereas the one proposed by the action-based model is a motivated protection of a strongly held cognition.

This work was originally published in 1902 & marked a watershed in the Russian Silver age, a vibrant cultural renaissance.

_The Pursuit of Existentialism_ explores how existentialism has survived and how its key themes and concerns remain integral to continental philosophy today. _The Pursuit of Existentialism_ places the creation of existentialism - in the work of Sartre, Camus and Beauvoir - in its historical context, assessing how it drew on the work of Nietzsche and Kierkegaard. The book then goes on to focus on the complex heritage of post-Sartrean thinking from Heidegger to today. Theorists and schools covered include: Heidegger's infamous (...) critique of existentialism; "the dissident surrealists" from Bataille to Blanchot; feminist thinking from Arendt to Kristeva; postmodernist theorising from Baudrillard and Lyotard; psychoanalytic thinking from Lacan and Žižek; and deconstructive and political philosophy from Derrida and Badiou. (shrink)

A sample of 523 newly ordained female Anglican clergy in England, Ireland, Scotland and Wales completed the Eysenck Personality Profiler. The data demonstrated that the female clergy tended to be less extravert than women in general, less neurotic than women in general, and less toughminded than women in general. These findings help to clarify the way in which women clergy tend to project a characteristically masculine personality profile in respect of one major dimension of personality, but a characteristically feminine personality (...) profile in respect of the other two major dimensions of personality. (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)

In Canada, there are currently no guidelines at either the federal or provincial level regarding the provision of kidney transplantation services to foreign nationals (FN). Renal transplant centres have, in the past, agreed to put refugee claimants and other FNs on the renal transplant waiting list, in part, because these patients (refugee claimants) had health insurance through the Interim Federal Health Programme to cover the costs of medication and hospital care. However, severe cuts recently made to this programme have forced (...) clinicians to question whether they should continue with transplants for FNs, for financial and ethical reasons. This paper first examines different national policies (eg, in Canada, USA, France and the UK) to map the diversity of approaches regarding transplantation for FNs, and then works through different considerations commonly used to support or oppose the provision of organs to these patients: (1) the organ shortage; (2) the free-rider problem; (3) the risk of becoming a transplant destination; (4) the impact on organ donation rates; (5) physicians’ duties; (6) economic concerns; (7) vulnerability. Using a Canadian case as a focus, and generalising through a review of various national policies, we analyse the arguments for and against transplantation for FNs with a view to bringing clarity to what is a sensitive political and clinical management issue. Our aim is to help transplant centres, clinicians and ethicists reflect on the merits of possible options, and the rationales behind them. (shrink)

: The early Nishida has conventionally been seen as an apolitical thinker, concerned primarily with religious philosophy. In itself this constitutes a political reading of Nishida's work, since it represents an attempt to distance (and thus "save") his wider philosophy from his dubious political practice during the 1930s and 1940s. However, a fresh reading of Nishida's debut, Zen no kenkyu (An inquiry into the good), reveals a distinctive political agenda and a sophisticated philosophy of political ethics. Counterintuitively, this essay suggests (...) that Nishida's politics, at least in his "early period," provides a sound philosophical basis for a critique of imperialism and ultranationalism. (shrink)