The focus of this study was on adolescent mental health. More specifically, the relationship between strength-based parenting (SBP) and subjective wellbeing (SWB) during adolescence, as assessed by a sample of adolescents, was examined at three time points over 14 months (N = 202, Mage = 12.97, SDage =.91, 48% female). SBP was positively related to life satisfaction and positive affect at each of the three time points, and was negatively related to negative affect. SBP and SWB both declined significantly over (...) time. When examining the causal relationships between SBP and SWB, two different statistical models were applied: latent growth-curve models (LGM) and random-intercept cross-lagged panel models (RI-CLPM). The LGM revealed a strong positive relationship between changes in SBP and SWB. Specifically, this model showed that SBP at one time point predicted adolescent SWB at future time points. However, when the more stringent statistical test was completed through RI-CLPMs, no cross-lagged paths reached significance. Thus, while parenting is a significant predictor of wellbeing for pre-teens and teens in real time, it is not predictive of wellbeing at future time points. Parents, thus, cannot assume that their current levels of SBP are ‘banked’ by their children to support future wellbeing. Instead, SBP needs to be an ongoing, contemporary parenting practice. Furthermore, the fact that perceptions of SBP decline in this age bracket suggest that SBP interventions may be helpful in supporting adolescent mental health. (shrink)

This paper is concerned with tracing how the notion of place circulates and is understood in literature from the 1980s and 1990s on computer-mediated information and communications technologies. It provides a brief account of at least two ways that the notion of place circulates in the discourse of the virtual. The first is that these technologies enable 'new' spaces that are claimed to be separate from conventional spaces and places. The second, contradictorily, is that the metaphor of place is crucial (...) as a setting for online social interaction. The paper also explores how we might understand the 'place' of place in the discourse of the virtual. It does this by drawing parallels from Jacques Derrida's critique of spatial metaphor in the text of philosophy with the use of place-based metaphors in the discourse of the virtual. This examination reveals that the reduction of place to metaphor in writing on virtual technologies belies the persistent and subtle force that is exerted by metaphor in general. Furthermore, the prevalence of place-based metaphors in the discourse of the virtual points to the ongoing importance of place as a wider concept. In particular, the notion of place is in fact fundamental to how virtual technologies are framed and understood. The paper concludes by sketching some of the possibilities and potential implications that emerge from this argument. (shrink)

What is virtuous citizenship? Is it possible to be a virtuous citizen whatever the form of one's state? Is it possible to be a virtuous citizen in the new South Africa? In this article I defend some Republican ideas on civic virtue and popular sovereignty, especially as found in the writings of Jean-Jacques Rousseau, to suggest that popular sovereignty is a necessary condition for active and virtuous citizenship. For it is only under conditions of popular sovereignty that the right (...) kind of political agency is possible. I discuss these ideas in the context of modern constitutional democracies, and argue that constitutional democracy in South Africa is not an instance of popular sovereignty and thus does not provide the possibility for virtuous citizenship. I end the article with a proposal for addressing these deficiencies: effective citizen control over the constitution by means of a decennial plebiscite—a carnival of citizenship. (shrink)

I show how Sir William Rowan Hamilton’s philosophical commitments led him to a causal interpretation of classical mechanics. I argue that Hamilton’s metaphysics of causation was injected into his dynamics by way of a causal interpretation of force. I then detail how forces are indispensable to both Hamilton’s formulation of classical mechanics and what we now call Hamiltonian mechanics (i.e., the modern formulation). On this point, my efforts primarily consist of showing that the contemporary orthodox interpretation (...) of potential energy is the interpretation found in Hamilton’s work. Hamilton called the potential energy function the “force-function” because he believed that it represents forces at work in the world. Various non-historical arguments for this orthodox interpretation of potential energy are provided, and matters are concluded by showing that in classical Hamiltonian mechanics, facts about the potential energies of systems are grounded in facts about forces. Thus, if one can tolerate the view that forces are causes of motion, then Hamilton provides one with a road map for transporting causation into one of the most mathematically sophisticated formulations of classical mechanics, viz., Hamiltonian mechanics. (shrink)

The Augustinian text is being radically rewritten by contemporary theologians to render it compatible with various proposals for a postmodern Christianity. The proximate stimulus is Derrida's deconstruction of the argument of the Confessions. What is positive and what is wanting in his appropriation of the Augustinian dialectic is reviewed, as also what can and cannot be seen of the historical Augustine from within the purview of a postmodern theology.

Trans and gender-nonconforming people sometimes say that certain gender norms are authentic for them. For example, a trans man might say that abiding by norms of masculinity tracks who he really is. Authenticity is sometimes taken to appeal to an essential, pre-social “inner self.” It is also sometimes understood as a moral notion. Authenticity claims about gender norms therefore appear inimical to two key commitments in feminist philosophy: that all gender norms are socially constructed, and that many domains of gender (...) norms are both morally and prudentially bad. I argue that that this apparent tension is illusory. Concordant with existing trans narratives of authenticity, I articulate an existentialist view that understands authenticity as a socially embedded, constructive project undertaken in a non-ideal social world, rather than a reflective uncovering of a pre-given, essential self. I then show that authenticity and morality can come apart; what is authentic for someone need not be either morally good or good for them. I conclude that the authenticity of gender norms does not cut against the feminist commitments that I identify. This conclusion enables a theoretical space that is both respectful of trans experience and critical of dominant gender norms, an important liberatory goal. (shrink)

Although it is clear that Sir William Rowan Hamilton supported a Kantian account of algebra, I argue that there is an important sense in which Hamilton's philosophy of mathematics can be situated in the Newtonian tradition. Drawing from both Niccolo Guicciardini's (2009) and Stephen Gaukroger's (2010) readings of the Newton–Leibniz controversy over the calculus, I aim to show that the very epistemic ideals that underpin Newton's argument for the superiority of geometry over algebra also motivate Hamilton's (...) philosophy of algebra. Namely, Hamilton's defense of algebra, like Newton's defense of geometry, is driven by the claim that a mathematical science must have a proper object and thus a basis in truth. In particular, Hamilton aims to show that algebra is not a mere language, or tool, or a mere “art”; instead, he argues, algebra is a bona fide mathematical science, like geometry, because its methods also provide true and accurate insight into a genuine subject matter, namely, the pure form of temporal intuition. (shrink)

Trans people often prioritize self-identification and self-determination when it comes to gender. We think people have a right to tell us who they are, rather than to be told who they are. But what does this really mean? And what should we do when someone self-identifies in bad faith--such as when the Club Q mass shooter (briefly) identified as nonbinary? I discuss these questions in a short blog post.

Entre les postes et le mouvement analytique, le principe de plaisir et l'histoire des télécommunications, la carte postale et la lettre volée, bref le transfert de Socrate à Freud, et au-delà. Cette satire de la littérature épistolaire devait être farcie - d'adresses, de codes postaux, de missives cryptées, de lettres anonymes, le tout confié à tant de modes, de genres et de tons.

Oppressive ideology regularly misrepresents features of structural injustice as normal or appropriate. Resisting such injustice therefore requires critical examination of the evaluative judgments encoded in shared concepts. In this paper, I diagnose a mechanism of ideological misevaluation, which I call "hermeneutical misfit." Hermeneutical misfit occurs when thick concepts, or concepts which both describe and evaluate, mobilize ideologically warped evaluative judgments which do not fit the facts (e.g. "slutty"). These ill-fitted thick concepts in turn are regularly deployed as if they merely (...) describe--a phenomenon I call "descriptive masquerade." I argue that, via descriptive masquerade, ill-fitted thick concepts smuggle in warped evaluative judgments alongside apparently value-neutral ‘mere facts’, a process which both reinforces those judgments and increases the difficulty of critique. I investigate the concept "obesity" as an example: scientists and medical practitioners will deploy this concept as if it "merely" describes, enabling the smuggling of a host of warped evaluative judgments. I suggest that, to resist this process, we should develop collective consciousness and articulate "meta-hermeneutical resources," or thick concepts which encode critique of other, ill-fitted concepts (e.g. "slut-shaming" or "fat-shaming"). (shrink)

Is it defensible to use the concept of a right? Can we justify this concept's central place in modern moral and legal thinking, or does it unjustifiably side-line those who do not qualify as right-holders? Rowan Cruft brings together a new account of the concept of a right. Moving beyond the traditional 'interest theory' and 'will theory', he defends a distinctive role for the concept: it is appropriate to our thinking about fundamental moral duties springing from the good of (...) the right-holder. This has important implications for the idea of 'natural' moral rights-that is, rights that exist independently of anyone's recognising that they do. Cruft argues that only rights that exist primarily for the sake of the right-holder can qualify as natural in this sense.In its relation to property, however, matters are far more complicated because much property is groundable only by common or collective goods beyond the right-holder's own good. For such property, Cruft argues that a non-rights property system-that resembles modern markets but is not conceived in terms of rights-would be preferable. The result of this study is a partial vindication of the rights concept that is more supportive of human rights than many of their critics might expect, and is surprisingly doubtful about property as an individual right. (shrink)

This essay explores “sculptural plasticity” through neuronal matterings of the brainbody in philosophy, literature, and art. It focuses on Socrates’s cataleptic condition as evidenced in Plato’s Symposium, the plasticities at work in Jean-Paul Sartre’s Nausea, and morphogenetic acts of cell formation in the sculptural installation of Pierre Huyghe’s After ALife Ahead.

We argue for three main claims. First, the sentence ‘A and B ought to φ and ψ’ can express what we a call a joint-ought claim: the claim that the plurality A and B ought to φ and ψ respectively. Second, the truth-value of this joint-ought claim can differ from the truth-value of the pair of claims ‘A ought to φ’ and ‘B ought to ψ.’ This is because what A and B jointly ought to do can diverge from what (...) they individually ought to do: it may be true that A and B jointly ought to φ and ψ respectively, yet false that A ought to φ and false that B ought to ψ; and vice-versa. Third, either of two prominent semantic analyses of ‘ought’ – Mark Schroeder’s relational semantics, and Angelika Kratzer’s modal semantics – can model joint-ought claims and this difference in truth-value. (shrink)

India has a long, rich, and diverse tradition of philosophical thought, spanning some two and a half millenia and encompassing several major religious traditions. Now, in this intriguing introduction to Indian philosophy, the diversity of Indian thought is emphasized. It is structured around six schools of thought that have received classic status. Sue Hamilton explores how the traditions have attempted to understand the nature of reality in terms of inner or spiritual quest and introduces distinctively Indian concepts, such as (...) karma and rebirth. She also explains how Indian thinkers have understood issues of reality and knowledge-issues that re also an important part of the Western philosophical tradition. (shrink)

The introduction introduces the history of the concept of human rights and its philosophical genealogy. It raises questions of the nature of human rights, the grounds of human rights, difference between proposed and actual human rights, and scepticism surrounding the very idea of human rights. In the course of this discussion, it concludes that the diversity of positions on human rights is a sign of the intellectual, cultural, and political fertility of the notion of human rights. The chapter concludes with (...) an overview of the chapters present in the volume. (shrink)

ABSTRACTViolating a person's rights is disrespectful to that person. This is because it is disrespectful to someone to violate duties owed to that person. I call these ‘directed duties’; they are the flipside of rights. The aim of this paper is to consider why directed duties and respect are linked, and to highlight a puzzle about this linkage, a puzzle arising from the fact that many directed duties are justified independently of whether they do anything for those to whom they (...) are owed. (shrink)

"Proof" has been and remains one of the concepts which characterises mathematics. Covering basic propositional and predicate logic as well as discussing axiom systems and formal proofs, the book seeks to explain what mathematicians understand by proofs and how they are communicated. The authors explore the principle techniques of direct and indirect proof including induction, existence and uniqueness proofs, proof by contradiction, constructive and non-constructive proofs, etc. Many examples from analysis and modern algebra are included. The exceptionally clear style and (...) presentation ensures that the book will be useful and enjoyable to those studying and interested in the notion of mathematical "proof.". (shrink)

"In this densely imbricated volume Derrida pursues his devoted, relentless dismantling of the philosophical tradition, the tradition of Plato, Kant, Hegel, Nietzsche, Husserl, Heidegger--each dealt with in one or more of the essays. There are essays too on linguistics (Saussure, Benveniste, Austin) and on the nature of metaphor ("White Mythology"), the latter with important implications for literary theory. Derrida is fully in control of a dazzling stylistic register in this book--a source of true illumination for those prepared to follow his (...) arduous path. Bass is a superb translator and annotator. His notes on the multilingual allusions and puns are a great service."--Alexander Gelley, Library Journal. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Basic Theatrical Understanding: Considerations for James HamiltonNoël Carroll (bio)The publication of The Art of Theater by James Hamilton is a seminal event in the philosophy of theater.1 As the first book-length study of theater in the analytic tradition of philosophy, it will be a touchstone for many years of future discussion and debate. Anyone interested in the philosophy of theater will need to address Professor Hamilton’s accomplishment.The (...) leading idea in The Art of Theater is that theatrical performance is an independent art form. That is, theatrical performance, as such, is not, as Aristotle suggested by his demotion of spectacle, a mere adjunct to literature, or essentially a medium for illustrating dramatic and comedic texts. Theatrical performance itself is an art in its own right. This view of theater art has been increasingly apparent in the practices of modern theater in the West, but these practices—as exemplified by Gordon Craig, Vsevolod Meyerhold, Jacques Copeau, Bertolt Brecht, Antonin Artaud, Jerzy Grotowski, and, more recently, Robert Wilson—merely revealed what has always been the case: that theater is at root a performing art.Although for centuries theater in the West had been conceptualized as a text-based art, Hamilton maintains that this tradition is local. Theatrical performances in other cultures need not be the enactment of antecedently written-out texts. Furthermore, even within Western culture, most of us see and discuss plays without ever reading the texts upon which they are based. Hamilton takes these facts to support his view that theatrical performance is an autonomous art form. Among other things, this means that the critical model that presumes that the success of a theatrical performance must be assessed against the effectiveness of its implementation of the pertinent preexisting literary text is a misguided one. Although a preexisting literary text may be an ingredient in the production of a theatrical performance, fidelity to the aforesaid text is not mandated by the art of theater. [End Page 15]Insofar as theatrical performance is an art in its own right, it may—and quite clearly, as in the cases of the Performance Group, Kraken, Mabou Mines, etc., often does—adapt written texts for its own purposes. Moreover, refashioning the text, where there is one, is not simply an avant-garde practice; most productions edit the text for their own purposes. Kenneth Branagh’s Hamlet, which omitted no word from the accepted version of the text, was the exception to the rule. Thus, what Hamilton calls the ingredients model of the relation of texts to theatrical performances has the advantage on its side of better corresponding to actual practices, as compared to the notion that a theatrical performance is to be understood as a matter of bringing a literary text to life.Of course, one apparent advantage that the text-implementation model of theatrical performance might seem to possess is that it appears to have a way ready-to-hand for identifying theatrical performances. Gielgud’s performance, Olivier’s performance, and Burton’s performance are, ex hypothesi, all performances of Hamlet because they are all performances of Shakespeare’s text to which they all roughly comply. If, following Hamilton, we sever the relationship to the play-text, how can we account for the way in which we identify theatrical performances?2 That is, independently of reference to texts, how do we identify a theatrical performance as another instance of Hamlet?In order to solve this problem, Hamilton introduces the idea of “a basic understanding” of a theatrical performance. The basic understanding of a theatrical performance is, on Hamilton’s account, said to involve no more than comprehending on a moment-to-moment basis the ongoing bits of dialogue and stage action as they evolve, as well as understanding the transitions from one scene to another while also responding physically in a suitable manner to the evolving story (for example, laughing where laughter is appropriate) or emoting responsively to what is happening onstage. So, one has a basic understanding of a scene if, when the Musketeer says “On guard,” the spectator takes this to be an invitation to a duel; and when a rival character draws his sword, the... (shrink)

In this article I argue that, despite the views of such theorists as Locke, Hart and Raz, most of a person's property rights cannot be individualistically justified. Instead most property rights, if justified at all, must be justified on non-individualistic (e.g. consequentialist) grounds. This, I suggest, implies that most property rights cannot be morally fundamental ‘human rights’.

Suppose that it would be best if some set of people all did A, significantly worse if they all did B, and worst of all if some did A while some did B. Now suppose that they’re all going to do B, regardless of what the others do. It seems as though each of these people ought to pick B, given what the others are going to do. Yet it also seems as though something has gone wrong. This leads to (...) a puzzle: how can it be wrong for everyone to act as they ought? In this paper, I resolve this puzzle by arguing that there are joint ‘oughts’ which apply irreducibly to pluralities of agents, and which can pull in different directions to ‘oughts’ holding of given individuals; even if everyone individually ought to pick B, what they jointly ought to do is all pick A. (shrink)

The aesthetics of imperfection emphasises spontaneity, disruption, process and energy over formal perfection and is often ignored by many commentators or seen only in improvisation. This comprehensive collection is the first time imperfection has been explored across all kinds of musical performance, whether improvisation or interpretation of compositions. Covering music, visual art, dance, comedy, architecture and design, it addresses the meaning, experience, and value of improvisation and spontaneous creation across different artistic media. A distinctive feature of the volume is that (...) it brings together contributions from theoreticians and practitioners, presenting a wider range of perspectives on the issues involved. Contributors look at performance and practice across Western and non-Western musical, artistic and craft forms. Composers and non-performing artists offer a perspective on what is 'imperfect' or improvisatory within their work, contributing further dimensions to the discourse. The Aesthetics of Imperfection in Music and the Arts features 39 chapters organised into eight sections and written by a diverse group of scholars and performers. They consider divergent definitions of aesthetics, employing both 18th-century philosophy and more recent socially and historically situated conceptions making this an essential, up-to-date resource for anyone working on either side of the perfection-imperfection debate. (shrink)

Brazil’s Movement of the Landless emerges from this collection as one of the great social movements of modernity. In historical chapters we see its evolution from confrontations with landowners and police in land invasions in the South of Brazil in the 1970s to become a multi-faceted movement with a presence throughout Brazil. More than a pressure group for Land Reform, it turned to mount a comprehensive challenge, on linked legal, cultural, political and economic fronts to Brazil’s dominant model of development. (...) Its ‘social movement approach’, conjoining challenge to Brazil’s massive inequalities with the formation of active citizens among the marginalised rural poor, has become a model for movements in the urban scene. We see this not just through the rich descriptive accounts of MST actions, but because the contributing editor, Miguel Carter, has pointed the action portraits with theoretical acumen, and, with other contributors, placed them in historical context. (shrink)

This review critically engages with Radhika Desai’s concept of geopolitical economy as a framework for understanding the evolution of the capitalist state system. While presenting a useful challenge to many of the most deeply-held beliefs in International Relations theory, Desai’s over-reliance on a geopolitical lens produces a relatively one-sided account of the ways in which capitalism forges distinct international regimes and ideological formations under a given set of historical conditions of possibility. Thus, Desai’s somewhat opaque reading of the international relations (...) of capitalism clouds our understanding of what the current conjuncture might entail for any possible future beyond the social discipline of capital. (shrink)

Our think tank tasked by the Dutch Health Council, consisting of Radboud University Nijmegen Honours Academy students with various backgrounds, investigated the implications of Deep Brain Stimulation for psychiatric patients. During this investigation, a number of methodological, ethical and societal difficulties were identified. We consider these difficulties to be a reflection of a still fragmented field of research that can be overcome with improved organization and communication. To this effect, we suggest that it would be useful to found a centralized (...) DBS organization. Such an organization makes it possible to 1) set up and maintain a repository, 2) facilitate DBS studies with a larger sample size, 3) improve communication amongst researchers, clinicians and ethical committees, and 4) improve communication between DBS experts and the public at large. (shrink)

This paper investigates whether responsibility could be borne vicariously. I distinguish between three different senses of responsibility: attributional responsibility, practices of holding people responsible, and substantive responsibility. I argue that it is doubtful both whether attributional responsibility could be borne vicariously, and whether it could be appropriate to hold someone vicariously responsible. However, I suggest that substantive responsibility can genuinely be borne vicariously. Getting clear on these conceptual issues has important implications for how we approach more concrete legal and political (...) questions. More specifically, I argue these abstract arguments can be used to inform views on the common-law doctrine of joint enterprise, and on reparations for historic injustice. (shrink)

Ferruccio Busoni's Sketch of a New Aesthetic of Music appeared in 1910. Schoenberg, in his copy of the little book, wrote critical marginal comments which crystallize two opposed outlooks in musical aesthetics. Busoni writes: Notation, the writing out of compositions, is primarily an ingenious expedient for catching an inspiration, with the purpose of exploiting it later. But notation is to improvisation as the portrait is to the living model… …What the composer's inspiration necessarily loses through notation, his interpreter should restore (...) by his own…. (shrink)