The lack of gender parity in philosophy has garnered serious attention recently. Previous empirical work that aims to quantify what has come to be called “the gender gap” in philosophy focuses mainly on the absence of women in philosophy faculty and graduate programs. Our study looks at gender representation in philosophy among undergraduate students, undergraduate majors, graduate students, and faculty. Our findings are consistent with what other studies have found about women faculty in philosophy, but we were able to add (...) two pieces of new information. First, the biggest drop in the proportion of women in philosophy occurs between students enrolled in introductory philosophy classes and philosophy majors. Second, this drop is mitigated by the presence of more women philosophy faculty. (shrink)

Recent research in moral psychology highlights the role of emotion and intuition in moral judgment. In the wake of these findings, the role and significance of moral reasoning remain uncertain. In this article, we distinguish among different kinds of moral reasoning and review evidence suggesting that at least some kinds of moral reasoning play significant roles in moral judgment, including roles in abandoning moral intuitions in the absence of justifying reasons, applying both deontological and utilitarian moral principles, and counteracting automatic (...) tendencies toward bias that would otherwise dominate behavior. We argue that little is known about the psychology of moral reasoning and that it may yet prove to be a potent social force. (shrink)

Research on linguistic interaction suggests that two or more individuals can sometimes form adaptive and cohesive systems. We describe an “alignment system” as a loosely interconnected set of cognitive processes that facilitate social interactions. As a dynamic, multi-component system, it is responsive to higher-level cognitive states such as shared beliefs and intentions (those involving collective intentionality) but can also give rise to such shared cognitive states via bottom-up processes. As an example of putative group cognition we turn to transactive memory (...) and suggest how further research on alignment in these cases might reveal how such systems can be genuinely described as cognitive. Finally, we address a prominent critique of collective cognitive systems, arguing that there is much empirical and explanatory benefit to be gained from considering the possibility of group cognitive systems, especially in the context of small-group human interaction. (shrink)

As new HIV prevention tools are developed, researchers face a number of ethical and logistic questions about how and when to include novel HIV prevention strategies and tools in the standard prevention package of ongoing and future HIV prevention trials. Current Joint United Nations Programme on HIV/AIDS /World Health Organization guidance recommends that participants in prevention trials receive ‘access to all state of the art HIV risk reduction methods’, and that decisions about adding new tools to the prevention package be (...) made in consultation with ‘all relevant stakeholders’. The guidance, however, leaves open questions of both process and implementation. In March 2009, the Global Campaign for Microbicides, UNAIDS and the Centers for Disease Control and Prevention convened a consultation to develop practical answers to these questions. Fifty-nine diverse participants, including researchers, ethicists, advocates and policymakers, worked to develop consensus criteria on when to include new HIV prevention tools in future trials. Participants developed a set of questions to guide decision-making, including: whether the method has been recommended by international bodies or adopted at a national level; the size of the effect and weight of the evidence; relevance to the trial population; whether the tool has been approved or introduced in the trial country; whether adding the tool might lead to trial futility; outstanding safety issues and status of the trial. Further work is needed to develop, implement and evaluate approaches to facilitate meaningful stakeholder participation in this deliberative process. (shrink)

How do therapists learn to manage sexual feelings in the therapeutic relationship in an ethical, responsible manner? Data from 293 university-based psychotherapists show that the minority who report that their training prepared them to do so "very well" were more likely to have received "content-specific" training related to the topic or an opportunity to explore themselves as sexual beings, or both. In addition, they had experience with supervisors who modeled the belief that sexual feelings are a normal, expected part of (...) any human relationship and must be anticipated and planned for by therapists. (shrink)

Open peer commentary on the article “Observing Environments” by Hugo F. Alrøe & Egon Noe. Upshot: We discuss the environmental terminology of Jakob von Uexküll in the context of Alrøe Egon Noe’s reflections, and to examine more deeply the multi-perspectivity that arises from a combination of von Uexküll’s and Luhmann’s systems theories. The complexity yielded by an unpacking of the term “environment” sheds light on the difficulties in finding common understandings for solving wicked problems.

In Use and Abuse Revisited: Response to Pluhar and Varner, Kathryn Paxton George misunderstands the point of my essay, In Defense of the Vegan Ideal: Rhetoric and Bias in the Nutrition Literature. I did not claim that the nutrition literature unambiguously confirms that vegans are not at significantly greater risk of deficiencies than omnivores. Rather than settling any empirical controversy, my aim was to show how the literature can give the casual reader a skewed impression of what is known (...) about the risks of a vegan diet. In this brief rejoinder, I illustrate how two essays by nutritionists in the same volume as George's and my essays, and a referee's report on my manuscript which was authored by a nutritionist, confirm the soundness of this basic insight. (shrink)

The plot of Brian Friel's Molly Sweeney oscillates around the theme of perception, blindness and eye-sight recovery. Although visually impaired, the eponymous character is a self-reliant and independent person who is very active, both professionally and socially. What serves as the source of tragedy in the play is the male desire to compensate for Molly's physical disability perceived as a sign of deficiency and oddity that needs to be normalized. Prompted by her husband, Molly decides to undergo (...) a surgery which gives her a chance to regain sight and, thus, become a part of the world of the visually abled. Yet, subsequent to the operation, Molly cannot adapt herself to the new reality and develops a medical condition called blindsight, which leads to her final alienation and confusion. Focusing predominantly on the main character of the play, this paper examines the ways in which Molly Sweeney experiences the surrounding world and seeks satisfaction and self-fulfilment through physical activities, such as swimming or dancing, which she vividly describes in her monologues. It explores the double nature of Molly who, despite her self-sufficiency, capacity for rebellion and a sense of autonomy, seems prone to male manipulation exercised at first by her father, later by her husband Frank and doctor Rice. Her expression of independence becomes particularly conspicuous in the scene of a party organized the night before her surgery when she performs a wild and frantic hornpipe, which serves as a form of momentary upheaval and a visualization of the outburst of extreme emotions. Although the dance is not presented onstage, it has a crucial function in the play, for it serves as its powerful climax, after which Molly experiences gradual deterioration. Interpreted in the context of the history of Irish dance, the mad hornpipe appears replete with meanings and allusions. Traditionally associated with human sexuality and the female element, dance was often treated by the Irish clergy with a great deal of distrust as a source of evil and moral corruption. Consequently, like in the case of the frenzied reel in another famous Frielian play, Dancing at Lughnasa, the limitless and unrestricted performance in the climactic scene of Molly Sweeney may be seen as a tool of subversion and female opposition to the Irish patriarchal order. It is a unique moment in which the protagonist seizes male power and gains full, though very temporary, control over her life. (shrink)

Molly Farneth, Hegel’s Social Ethics: Religion, Conflict, and Rituals of Reconciliation, New Jersey, Princeton University Press, 2017 Slobodan Golubović.

One, Mad Hornpipe: Dance as a Tool of Subversion in Brian Friel's Molly Sweeney The plot of Brian Friel's Molly Sweeney oscillates around the theme of perception, blindness and eye-sight recovery. Although visually impaired, the eponymous character is a self-reliant and independent person who is very active, both professionally and socially. What serves as the source of tragedy in the play is the male desire to compensate for Molly's physical disability perceived as a sign of deficiency and (...) oddity that needs to be normalized. Prompted by her husband, Molly decides to undergo a surgery which gives her a chance to regain sight and, thus, become a part of the world of the visually abled. Yet, subsequent to the operation, Molly cannot adapt herself to the new reality and develops a medical condition called blindsight, which leads to her final alienation and confusion.Focusing predominantly on the main character of the play, this paper examines the ways in which Molly Sweeney experiences the surrounding world and seeks satisfaction and self-fulfilment through physical activities, such as swimming or dancing, which she vividly describes in her monologues. It explores the double nature of Molly who, despite her self-sufficiency, capacity for rebellion and a sense of autonomy, seems prone to male manipulation exercised at first by her father, later by her husband Frank and doctor Rice. Her expression of independence becomes particularly conspicuous in the scene of a party organized the night before her surgery when she performs a wild and frantic hornpipe, which serves as a form of momentary upheaval and a visualization of the outburst of extreme emotions. Although the dance is not presented onstage, it has a crucial function in the play, for it serves as its powerful climax, after which Molly experiences gradual deterioration.Interpreted in the context of the history of Irish dance, the mad hornpipe appears replete with meanings and allusions. Traditionally associated with human sexuality and the female element, dance was often treated by the Irish clergy with a great deal of distrust as a source of evil and moral corruption. Consequently, like in the case of the frenzied reel in another famous Frielian play, Dancing at Lughnasa, the limitless and unrestricted performance in the climactic scene of Molly Sweeney may be seen as a tool of subversion and female opposition to the Irish patriarchal order. It is a unique moment in which the protagonist seizes male power and gains full, though very temporary, control over her life. (shrink)

What were the mechanisms through which fascism triumphed in Europe during the interwar period? According to Robert O. Paxton, this is the question one must ask in order to understand the real nature of Mussolini's and Hitler's political regimes. In fact, with “fascism,” Paxton adopts a category from political science that includes characteristics shared by both Italian Fascism and German National Socialism. Paxton aims at constructing this category on the basis of a descriptive study of the world (...) in which the Mussolinian and Hitlerian movements concretely established themselves in their respective societies. Particularly, according to Paxton, we must examine fascism…. (shrink)

“O, rocks!” Molly exclaims in impatience with Bloom’s first definition of metempsychosis, “tell us in plain words” . Looking forward, then, we remember that Bloom asks Murphy if he has seen the Rock of Gibraltar and asks further what year that would have been and if Murphy remembers the boats that plied the strait. “I’m tired of all them rocks in the sea,” replies Murphy . Bloom’s interest derives from Molly’s connection with Gibraltar, and Molly herself in (...) her monologue remembers the boats well and thinks of missing the boat at Algeciras , just before the book ends with her thoughts of the awful deepdown torrent,” the tide that moves like a river through the strait. Imaginatively she moves with that torrent, figuratively the torrent of time that plunges from the future to the past, which she accepts, with her yes, going deeply with the flow of life, and with her goes Murphy/Joyce, touching on Gibraltar at last. Molly remembers Ulysses S. Grant getting off a boat in Gibraltar, an occurrence that Adams sees as unduly stretching probability merely in order to bring Molly in incidental touch with a man named Ulysses.19 But remembering that Murphy is a “wily old customer,” we may remember also that the Ulysses of Joyce’s favorite Dante cannot rest with Penelope but, in search of knowledge and excellence, moves on through the two rocks of the straits of Gibraltar, the pillars of Hercules, to further adventure and also to destruction; and we may then think that with this reference, Joyce took pains to tell us that the Ulysses of this book here completes in hidden climax the design and purpose of his work, and sails on to oblivion, or rather to dispersion and reconstitution as everyone in the new adventure of Finnegans Wake. 19. See Adams, Surface and Symbol, p. 233. Ralph W. Rader, professor of English at the University of California, Berkeley, is the author of Tennyson’s “Maud”: The Biographical Genesis. He is currently working on a theoretical study of form in the novel and other genres. His previous contributions to Critical Inquiry include “The Literary Theoretical Contribution of Sheldon Sacks” and “The Dramatic Monologue and Related Lyric Forms”. (shrink)

The seventh sign in Charles Peirce’s well-known 10-sign taxonomy of the 1903 Syllabus has received relatively little attention compared to many other types of sign that he described. It is the sign type of “Dicent Indexical Legisigns”, a result of the combinatory strategy of the 3x3 elementary sign aspects defined by the three basic sign trichotomies of Qualisign-Sinsign-Legisign, Icon-Index-Symbol and Rheme-Dicisign-Argument, a new strategy developed by Peirce in that famous text. It is well known how such aspects do not combine (...) freely, hence not resulting in 3 × 3 × 3 = 27 sign types, but only in 10 sign types, due to the application of the rule aptly summarized by Bellucci as “a certain combination... (shrink)

Hegel’s Social Ethics: Religion, Conflict, and Rituals of Reconciliation, by FarnethMolly. Princeton: Princeton University Press, 2017. Pp. xiii + 165.