Background In Switzerland, right-to-die organisations assist their members with suicide by lethal drugs, usually barbiturates. One organisation, Dignitas, has experimented with oxygen deprivation as an alternative to sodium pentobarbital. Objective To analyse the process of assisted suicide by oxygen deprivation with helium and a common face mask and reservoir bag. Method This study examined four cases of assisted suicide by oxygen deprivation using helium delivered via a face mask. Videos of the deaths were provided by the Zurich police. Dignitas provided (...) protocol and consent information. Results One man and three women were assisted to death by oxygen deprivation. There was wide variation in the time to unconsciousness and the time to death, probably due to the poor mask fit. Swiss law prevented attendants from effectively managing the face mask apparatus. Purposeless movements of the extremities were disconcerting for Dignitas attendants, who are accustomed to assisting suicide with barbiturates. None of the dying individuals attempted self-rescue. Conclusions The dying process of oxygen deprivation with helium is potentially quick and appears painless. It also bypasses the prescribing role of physicians, effectively demedicalising assisted suicide. Oxygen deprivation with a face mask is not acceptable because leaks are difficult to control and it may not eliminate rebreathing. These factors will extend time to unconsciousness and time to death. A hood method could reduce the problem of mask fit. With a hood, a flow rate of helium sufficient to provide continuous washout of expired gases would remedy problems observed with the mask. (shrink)

God vs. the Gavel challenges the pervasive assumption that all religious conduct deserves constitutional protection. While religious conduct provides many benefits to society, it is not always benign. The thesis of the book is that anyone who harms another person should be governed by the laws that govern everyone else - and truth be told, religion is capable of great harm. This may not sound like a radical proposition, but it has been under assault since the 1960s. The majority of (...) academics and many religious organizations would construct a fortress around religious conduct that would make it extremely difficult to prosecute child abuse by clergy, medical neglect of children by faith-healers, and other socially unacceptable behaviors. This book intends to change the course of the public debate over religion by bringing to the public's attention the tactics of religious entities to avoid the law and therefore harm others. (shrink)

An authoritative and accessible book by a qualified scientist, showing incredible proof of the mind-body connection. There is no longer any doubt that the way we think affects our bodies: countless scientific studies have shown this to be true. For former pharmaceutical scientist Dr David Hamilton, the testing of new drugs highlighted how profoundly the mind and body are connected. Time and time again, the control group of patients in drug trials improved at similar rates to those who actually (...) received the medicines. Astounded, Dr Hamilton decided to change the direction of his work to explore the relationship between the mind and the body. This bestselling acclaimed book was first published 10 years ago. In it, Dr Hamilton explores the effect of visualization, belief and positive thinking on the body, and shows how using our imagination and mental processes can stimulate our own defences and healing systems to combat disease, pain and illness. In this new edition, Dr Hamilton has added four new chapters to discuss the latest cutting-edge information and extraordinary new techniques. These include using imagery to stimulate the immune system - a method that can benefit cancer patients undergoing conventional treatment - effectively using the mind to speed up rehabilitation from stroke, and powerful visualization strategies to help facilitate recovery from injury and illness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Theater—A PrécisJames R. Hamilton (bio)In The Art of Theater I propose and explain a claim that many theater people hold true in some form but, so far as I can tell, have defended in a manner that has had almost no success outside discussions among themselves.1 The claim proposed is that, in an unqualified way, theater is a form of art. By that I mean (...) theatrical performances are what are created in the practice of theater and that theatrical performances are works of art because they can be picked out and appreciated in the same ways we appreciate other kinds of artworks.2The agenda I set for the book is to state and explain what that claim comes to—exactly and in detail. Accordingly, most of the book consists of explanations of what else must be true if the claim is true, together with arguments defending the truth of those entailments. Some of the material consists of clarifying what the claim does not entail, and some passages contain arguments to show that alternative claims have problems that this one does not. Of these, I have allowed the explanation and clarification materials to carry the burden. Many philosophers and literary theorists are likely to find the claim incomprehensible because they have inherited, rather than critically accepted, a conception of theater as centrally dependent on literary texts.3 Philosophers, literary theorists, and theater theorists are better served by the explanations and clarifications I offer, however, because they show the claim can withstand the immediate objections or worries likely to arise.The direct argumentation I offer for the claim is historical. Indeed, I begin the book by tracing how theater has been conceived and practiced in the European theatrical tradition since the 1850s. I start there and then for several reasons. First, it is the beginning of a period of great achievement in theater, when literary artists began again to write for theater. Second, the same period also gave rise to a now dominant conception of theater: namely, [End Page 4] the idea that theatrical performances, or at least the most often performed, are events that are dependant primarily if not exclusively on literary texts. Finally, the 1850s were also the beginning of a period in which theater people were both doing and thinking about theater in ways that resisted that very same dominant conception. The conclusion I come to in tracing this history is that—without always intending to and sometimes by intending the opposite—theater’s theoretical practitioners have put us in a position to see the truth of the claim that theatrical performance itself is an independent form of art. Assured we can see that truth in the actual historical practices of theater, even in its most self-consciously text-oriented period, I then proceed to explain and clarify the claim.To begin with, the enormous success of the conjunction of literature and theater in late European theater practice means that any view of the art status of theatrical performances must explain the relation between a performance and a literary text, at least when a literary text is used in the performance. This is the first bit of explanation I undertake. A number of models of this relationship have been proposed, and I survey three of the primary ones. First, the “literary” model holds that performances illustrate or, at best, interpret the text and exist as a means to present the content—or the interpreted content—of the text in a performance mode. Second, the “two-text” model holds that the content of the literary text must be translated, adapted, transformed, reconstructed, or otherwise “reinscribed” in the language of theater. A third model, popular in analytic aesthetics, attempts to piggyback an account of theatrical works, texts, and theatrical performances on the well-developed ontology of musical works, scores, and musical performance.4 This third model might provide the right ontology of theatrical performances. Before we try to determine what kinds of things or events make our experience of theater what it is, however, first we should seek the best explanation of that experience. And that is the task I undertake in... (shrink)

Hamilton argues that narratives engage our imaginations not so much by having us pretend the events they depict are true or present as by having us engage in a kind of anticipation of events to come. The idea is that the grasp of a narratively structured presentation is explained in very much the same way any sequence of events, considered as a sequence, is grasped.

_The Art of Theater_ argues for the recognition of theatrical performance as an art form independent of dramatic writing. Identifies the elements that make a performance a work of art Looks at the competing views of the text-performance relationships An important and original contribution to the aesthetics and philosophy of theater.

In this article I propose a way of thinking about aesthetic and artistic verdicts that would keep them distinct from one another. The former are reflections of the kinds of things we prefer and take pleasure in; the latter are reflections of other judgments we make about the kinds of achievements that are made in works of art. In part to support this view of verdicts, I also propose a way of keeping distinct the description, the interpretation, and the evaluation (...) of works of art. (And along the way, I worry about whether we offer the same kinds of interpretations of the objects of our aesthetic pleasures, properly considered, that we clearly do offer with respect to works of art.) The thesis I propose—the achievement model—is not original with me. What is original, perhaps, is that it is posed as an alternative to two other views of artistic evaluation, namely the appeal to “ideal critics” and the appeal to one way of understanding our preferences with regard to works of art. I do not attempt to show that each of these alternatives meets with insuperable problems; but I do indicate what I take to be the substantive content of those problems. In the end, in order to flesh out the thesis I propose, I borrow some material from the literature on human well-being concerning how we determine what an achievement is. (shrink)

The object of this article is to examine the letter from which Plutarch quotes in the above passage from the twenty-eighth chapter of his life of Alexander; to attempt to prove, particularly by a comparison of the letter with the Sidypafifia sent in 319 B.C. by Polyperchon to the Greek cities, that it is a genuine part of Alexander's correspondence; and further to consider what light the letter, if genuine, throws upon the person of Alexander himself.

In lieu of an abstract, here is a brief excerpt of the content:Replies to CriticismsJames R. HamiltonI am grateful to Noël Carroll, David Davies, Sherri Irvin, Aaron Meskin, and Paul Thom for stimulating discussions of The Art of Theater over the past year, culminating in these carefully crafted critical comments on various aspects of the book.1 I especially appreciate the efforts of Sherri Irvin, who edited this special issue and without whose encouragement, enthusiasm, and careful editing this would not have (...) happened.Whenever the central proposals made in The Art of Theater were made by theater people during the past hundred years, they were greeted with a kind of baffled outrage by many traditionalist literature scholars who had taken it as an obvious fact that theatrical performances are nothing more than illustrations or interpretations of works of dramatic literature, at best requiring artistry for performance but not issuing in independent works of art. Quite a few contemporary literature and theater scholars have seen errors in the traditionalist view and proposed that theatrical performances are capable of even great artistry and, perhaps, of being works of art in their own right. It must be said, however, that they will not find my defense of that position congenial. Indeed, it will seem worse still from their point of view because my defense of the position does not require semiotic analysis, let alone any sort of poststructuralist thinking about theatrical performances that depends on seeing performance as a novel kind of text—a “theater text.” This will disappoint because, unlike many contemporary literary theorists (and even some theater theorists), I do not think of theatrical performances as something to be read and, further, as something that falls within the purview of literary scholarship after all. Performances are actions and are to be understood in the ways we understand all other actions.I knew the central proposals in The Art of Theater would seem a little strange to philosophers. Some of the strangeness that they have felt about the view—if not the baffled outrage felt by literary theorists—can be mitigated, I believe, by considering three facts that served as motivations for making the proposal. I encountered these facts while teaching experimental theater techniques in a workshop format. Only gradually did I come to realize they are facts about any theatrical performance—its presentation, its [End Page 80] preparation, and its reception. It was only after I realized how general these facts are that I began to wonder why the view they seem to suggest is not more widely held, or even discussed, among philosophers working on the performing arts. My book was designed to get that discussion going. And, to judge by the quality of the discussion in this volume, it has succeeded admirably in meeting that goal. I think the book is also largely correct, however, so it is worth beginning at the beginning, with the basic facts I encountered in teaching experimental theater.First, it is undeniable that what typical spectators for any theatrical performance grasp is delivered to them entirely during the time of the performance itself. The typical spectator—which excludes academics and professional critics—is usually unfamiliar with what she is about to see and hear, in content if not in kind. Nevertheless, most spectators are successful in tracking most theatrical performances, even some in wildly unfamiliar styles and traditions. This is an important fact. Its importance lies in the implication that spectators do not need to recognize anything beyond what they see in the performance to regard the event as something they can assess aesthetically and artistically.Second, rehearsal processes for theatrical performances involve a lot of experimentation that focuses on how to make features of actors’ bodies and voices render clearly what the audience is supposed to see and hear and on how to make the sights and sounds generated by the ensemble, the set, the lighting, and so on focus audience attention in the places that will best enable them to understand what the company is presenting. This too is an important fact, for it highlights what any spectator has to know something about in order to make cogent artistic assessments of the event she has witnessed.Finally, consider the following case... (shrink)

Hamilton explains why "drama" is a category of literature rather than of theater, even though it is appropriate to describe many theatrical performances as "dramatic." Consideration of the possibilities of theatrical performance are especially important to this category of literature, but need not be (and often are not) decisive in constraining interpretations of dramatic works.

The doctrine of the atonement is a subject of perpetual curiosity for a number of contemporary theologians. The penal substitution theory of atonement in particular has precipitated a great deal of recent interest, being held up by many Protestants as ‘the’ doctrine of atonement. In this essay, we make a defense against the objection to the Anselmian theory of atonement that is often leveled against it by exponents of the Penal Substitution theory, namely, that Christ’s work does not accomplish anything (...) for those whom it appears he undertakes his atoning work, but merely makes provision for salvation. (shrink)

This chapter contains section titled: Identifying Characters, Events, and Other Objects in Narrative Performances Re‐Identification of Characters and Other Objects in Narrative Performances The Special Nature of Theatrical (Uses of) Space: Performances and Performance Space Cross‐Performance Re‐Identification Identifying and Re‐Identifying Objects in Non‐Narrative Performances Added Benefits of the Demonstrative and Recognition based Approach to Identification and Re‐Identification Theatrical Performance as a Fully Independent Practice.

The McNaughton Rules, which are used when someone pleads insanity at the time of a homicide, are out of date and unsatisfactory. Suggestions have been made about how the insanity defence can be reformulated. The preference of a defence of diminished responsibility means abandoning an ancient and humane principle of not convicting those who are so mentally disordered as not to be responsible for their actions. There is a need for Parliament to consider changes to the law both to prevent (...) the mentally disordered being sent to prison inappropriately, and because the Mental Health Act 1983 has not taken account of rare cases where an offender such as an epileptic might be found legally insane but not mentally disordered. (shrink)

The idea that form follows thought and feeling is not a new one to mystics, but quantum physicists have now shown this to be a scientifically proven reality. A massive shift in people's understanding is occurring to take the implications of this on board and integrate it into our lives. This book assembles the research from mainstream scientists and writers such as Gregg Braden and David Hawkins to create a convincing and inspiring case for the power of compassion and kindness (...) to make a difference in the world. (shrink)

Hamilton argues that there is a level of understanding of theatrical performances, and narrative performances in particular (called "plays"), that does not require grasp of the large-scale aesthetic features that usually inform the structure of what is presented. This "basic understanding" is required for any spectator to go on to have a deeper understanding and, so, grounds any spectator's understanding of the larger-scale features of a performance.

This chapter contains section titled: The Idea of a Tradition and Tradition‐Defining Constraints Constraints Derived from Origins in Written Texts What Really Constrains Performances in the Text‐Based Tradition The Myth of “Of”.

An investigation of Handke's play by means of an analysis of the elements of the Tractatus, known to have influenced Handke at the time he wrote Kaspar. This approach yields a much more plausible account of Handke's representation of his central character's alienation than are available from now-standard semiotic and post-structuralist analyses.

A survey of and a comparison of the relative strengths of two favored views of what theatrical performers do: pretend or engage in a variety of self-display. The behavioral version of the pretense theory is shown to be relatively weak as an instrument for understanding the variety of performance styles available in world theater. Whether pretense works as a theory of the mental capacities that underly theatrical performance is a separate question.

Hastings Center Report, Volume 52, Issue S1, Page S83-S88, March‐April 2022.

This chapter contains section titled: The Case of the Culturally Lethargic Company Broader Implications of the CLC Problem The “Imputationalist” Solution Solving the CLC Problem without Resorting to Imputationalism Full Appreciation of a Theatrical Performance and the Detection of Theatrical Failures.

Salespeople have a moral obligation to prospect/customer, company and self. As such, they continually encounter truth-telling dilemmas. "lgnorance" and "conflict" often block the path to morally correct sales behaviors. Academics and practitioners agree that adoption of ethical codes is the most effective measure for encouraging ethical sales behaviors. Yet no ethical code has been offered which can be conveniently used to overcome the unique circumstances that contribute to the moral dilemmas often encountered in personal selling. An ethical code is developed (...) that charts ethical paths across a variety of sales settings (addressing "ignorance") while illustrating why the cost associated with acting morally is generally reasonable (addressing "conflict"). The code applies the universal transactional notions of customer expectations and salesperson reputation to illustrate why and when salespeople are morally required to tell the truth. In doing so, the code tackles head-on the vexing question of how best to juggle mixed motives - involving self-interests, corporate-concerns, cus-tomer-needs and other influences such as the nature of the transaction. The issue of how mixed motives can be dealt with through moral means is one that ethicists have previously sidestepped (Stark, 1993). (shrink)

SummaryThe recent atonement literature reveals a growing trend accepting the thesis that the Reformer’s doctrine just is the biblical doctrine of penal substitution. This is the claim of William Lane Craig in his recent works on the atonement. In the present article, we challenge these set of claims in Craig’s recent works and advance an alternative theory of the atonement that has some significant footing in the Reformed theological tradition, most notably reflected in the theologian, William Ames. Finally, we lay (...) out several reasons why Craig’s doctrine of the atonement fails to capture the biblical data on the atonement and fails to avoid the legal fiction problem parasitic on most, if not all, accounts of penal substitution. (shrink)

In the recent history of philosophy few works have appeared which favorably portray Idealism as a plausible philosophical view of the world. Considerably less has been written about Idealism as a viable framework for doing theology. While the most recent and significant works on Idealism, composed by the late John Foster (Case for Idealism and A World for Us: The Case for Phenomenological Idealism), have put this theory back on the philosophical map, no such attempt has been made to re-introduce (...) Idealism to contemporary Christian theology. Idealism and Christian Theology is such a work, retrieving ideas and arguments from its most significant modern exponents (especially George Berkeley and Jonathan Edwards) in order to assess its value for present and future theological construction. As a piece of constructive philosophical-theology itself, this volume considers the explanatory power an Idealist ontology has for contemporary Christian theology. (shrink)

A key epistemic puzzle about theatrical performances of fictional narratives has to do with how spectators pick out and recognize the characters they encounter. An adequate solution to the puzzle is constrained by several factors : it should be similar to what we need to say about picking out and recognition of characters in non-fictional narratives ; it should be similar to what we need to say about picking out and recognizing elements in non-narrative performances ; it be it must (...) be sensitive to the fact that most plays do not name or describe their characters ; it must be sensitive to the fact that most spectators have no prior experience or preparation for what they will encounter ; and it must comport with any plausible story we have to tell about the mechanisms we bring to the identification and re-identification of individuals in daily life. In this paper, I review a solution that meets these constraints and, in particular, I show why the proposed solution is likely to be subserved by very basic cognitive mechanisms involved in object perception and recognition in everyday life. I conclude by responding to ontological worries the solution is likely to foster. (shrink)

Gregory Currie offers a statement of an interesting problem about tragedy: ‘(1) We want the fiction be such that something, E, occurs in it; [yet] (2) we react in ways which make it tempting to say we want E not to occur.’ He argues for one way to make (2) more precise with regard to what it is we are tempted to say. I argue he should not so readily have accepted (1). More significantly, however, I argue both that Currie (...) is right to hold we need an account of what the tragic response is before we can determine precisely what Hume’s puzzle really is and that any account of the desires involved in the experience of tragedy must hinge on when, in the course of a performance of a tragedy, we are considering a spectator’s responses. (shrink)

This chapter contains section titled: General Success Conditions for Deeper Theatrical Understanding More Precise Success Conditions: Two Kinds of Deeper Understanding Some Puzzles about the Relation between Understanding What is Performed and Understanding How it is Performed Deeper Theatrical Understanding and Full Appreciation of a Theatrical Performance.

The text of lines 39–40 is open to three main objections: stimulantem pectu Achilli cannot be construed in its context; to refer tuas to Persen would involvi difficult, though not unexampled, change of person; and thirdly, and most serious, it is scarcely possible to believe that Cornelia could appeal to a king of Macedon to testify to the soundness of her morals.

The text of lines 39–40 is open to three main objections: stimulantem pectu Achilli cannot be construed in its context; to refer tuas to Persen would involvi difficult, though not unexampled, change of person; and thirdly, and most serious, it is scarcely possible to believe that Cornelia could appeal to a king of Macedon to testify to the soundness of her morals.

This chapter contains section titled: The “Feature‐Salience” Model of Spectator Convergence on the Same Characteristics What it is to Respond to a Feature as Salient for Some Characteristics or a Set of Facts A Thin Common Knowledge Requirement A Plausibly Thickened Common Knowledge Requirement The Feature‐Salience Model, “Reader‐Response Theory,” and “Intentionalism” Generalizing the Salience Mechanism to Encompass Non‐Narrative Performances Some Important Benefits of the Feature‐Salience Model: Double‐Focus, Slippage, “Performer Power, ” “Character Power, ” and the Materiality of the Means of (...) Performance The Feature‐Salience Model and Explaining how Basic Theatrical Understanding Occurs. (shrink)

While Alexander is at Memphis an army arrives from Antipater including . It is a little surprising that Droysen's suggestion to read MevlSas for tevolras should have been accepted so readily by editors. We do at least hear fa Menoetas later as Berve remarks. He further points out lat Menidas does not elsewhere, so far as we know, command infantry.

While Alexander is at Memphis an army arrives from Antipater including. It is a little surprising that Droysen's suggestion to read MevlSas for tevolras should have been accepted so readily by editors. We do at least hear fa Menoetas later as Berve remarks. He further points out lat Menidas does not elsewhere, so far as we know, command infantry.

This chapter contains section titled: Theatrical Performance as Radically Independent of Literature Theatrical Performance as a Form of Art.

Salespeople have a moral obligation to prospect/customer, company and self. As such, they continually encounter truth-telling dilemmas. "lgnorance" and "conflict" often block the path to morally correct sales behaviors. Academics and practitioners agree that adoption of ethical codes is the most effective measure for encouraging ethical sales behaviors. Yet no ethical code has been offered which can be conveniently used to overcome the unique circumstances that contribute to the moral dilemmas often encountered in personal selling. An ethical code is developed (...) that charts ethical paths across a variety of sales settings (addressing "ignorance") while illustrating why the cost associated with acting morally is generally reasonable (addressing "conflict"). The code applies the universal transactional notions of customer expectations and salesperson reputation to illustrate why and when salespeople are morally required to tell the truth. In doing so, the code tackles head-on the vexing question of how best to juggle mixed motives - involving self-interests, corporate-concerns, cus-tomer-needs and other influences such as the nature of the transaction. The issue of how mixed motives can be dealt with through moral means is one that ethicists have previously sidestepped (Stark, 1993). (shrink)

Technology has expanded genomic research and the complexity of extracted gene-related information. Health-related genomic incidental findings pose new dilemmas for nurse researchers regarding the ethical application of disclosure to participants. Consequently, informed consent specific to incidental findings is recommended. Critical Social Theory is used as a guide in recognition of the changing meaning of informed consent and to serve as a framework to inform nursing of the ethical application of disclosure consent in genomic nursing research practices.

The theories of inclusive fitness and multilevel selection provide alternative perspectives on social evolution. The question of whether these perspectives are of equal generality remains a divisive issue. In an analysis based on the Price equation, Queller argued (by means of a principle he called the separation condition) that the two approaches are subject to the same limitations, arising from their fundamentally quantitative-genetical character. Recently, van Veelen et al. have challenged Queller’s results, using this as the basis for a broader (...) critique of the Price equation, the separation condition, and the very notion of inclusive fitness. Here we show that the van Veelen et al. model, when analyzed in the way Queller intended, confirms rather than refutes his original conclusions. We thereby confirm (i) that Queller’s separation condition remains a legitimate theoretical principle and (ii) that the standard inclusive fitness and multilevel approaches are indeed subject to the same limitations. (shrink)

The analysis of the Helmholtz equation is shown to lead to an exact Hamiltonian system describing in terms of ray trajectories, for a stationary refractive medium, a very wide family of wave-like phenomena (including diffraction and interference) going much beyond the limits of the geometrical optics (“eikonal”) approximation, which is contained as a simple limiting case. Due to the fact, moreover, that the time independent Schrödinger equation is itself a Helmholtz-like equation, the same mathematics holding for a classical optical beam (...) turns out to apply to a quantum particle beam moving in a stationary force field, and leads to a system of Hamiltonian equations providing exact and deterministic particle trajectories and dynamical laws, and containing the laws of Classical Mechanics in the eikonal limit. (shrink)