This article tests the impact of Walmart's corporate decisions to end the sale of handguns at its stores in 1994 and to discontinue the sale of all firearms at approximately 59% of its stores in 2006 before resuming firearms sales at some of those stores in 2011. Using a difference-in-differences framework, we find that that from 1994 to 2005 counties with Walmarts robustly experienced a reduction in the suicide rate and experienced no change in the homicide rate. These models suggest (...) that Walmart's policy change caused a 3.3 to 7.5% reduction in the suicide rate within affected counties, which represents an estimated 5,104 to 11,970 lives saved over the studied period. In contrast, Walmart's 2006 and 2011 decisions to discontinue and subsequently resume the sale of rifles and shotguns in many of its stores was not associated with a robustly measured effect on homicide or suicide rates. We do find evidence that Walmart's 2006 decision to reduce the number of its stores that sold firearms caused a statistically significant reduction in the suicide rate for counties in which Walmart did not subsequently resume firearms sales. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:510 Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. Shelley Streeby Speculative Writing, Art, and World-Making in the Wake of Octavia E. Butler as Feminist Theory The late great speculative fiction writer Octavia E. Butler often referred to herself as a feminist. In an autobiographical note she revised frequently over the course of her lifetime, now held in the massive archive of more than 8,000 (...) individually cataloged items that comprise The Octavia E. Butler Papers (OEB) at the Huntington Library in San Marino, California, Butler called herself a “hermit in the middle of Los Angeles,” a pessimist when she wasn’t “careful,” and “a feminist” as well as “a Black” and “a former Baptist.”1 Throughout her published work, Butler explores intersections of gender, sexuality, race, and class in ways shaped by her life growing up “black, female, and working class” across town in Pasadena, California.2 The keywords “feminism” and “feminist” pop up often in her archive. In 1988, in one of dozens of notebooks Butler filled with writing, she proudly claimed to be writing “true cross-over science fiction ” that reached both science fiction and general audiences, “encompassing feminists and blacks as well,” a claim she often repeated.3 The thousands of clippings Butler kept and annotated on subjects of interest to her included many on feminism, which she organized to emphasize 1. OEB, Folder 95. The OEB collection organized by Curator Natalie Russell, who authored the finding aid. 2. OEB, Folder 3093. 3. OEB, Folder 3239, November 9, 1988. 511 Shelley Streeby Books Discussed in This Essay Migrant Futures: Decolonizing Speculation in Financial Times. Aimee Bahng. Durham, NC: Duke University Press, 2018. Queer Feminist Science Studies: A Reader. Edited by Cyd Cipolla, Kristina Gupta, David A. Rubin, and Angela Willey. Seattle: University of Washington Press, 2017. Emergent Strategy: Shaping Change, Shaping Worlds. adrienne maree brown. Oakland, CA: AK Press, 2017. Octavia’s Brood: Science Fiction Stories from Social Justice Movements. Edited by adrienne maree brown and Walidah Imarisha. Oakland, CA: AK Press, 2015. Radio Imagination: Artists and Writers in the Archive of Octavia E. Butler. Edited by Janet Duckworth and Savanah Wood. Los Angeles: Clockshop, 2018. M Archive: After the End of the World. Alexis Pauline Gumbs. Durham, NC: Duke University Press, 2017. Angels with Dirty Faces: Three Stories of Crime, Prison, and Redemption. Walidah Imarisha. Oakland, CA: AK Press, 2016. Old Futures: Speculative Fiction and Queer Possibility. Alexis Lothian. New York: New York University Press, 2018. Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction. Sami Schalk. Durham, NC: Duke University Press, 2018. intersections among feminist and other struggles. A 1991 piece by Black syndicated columnist Clarence Page, for instance, called “The F. Word to Watch For: Feminists,” which was written in the wake of the HillThomas hearings and speculated that the Bush administration would demonize “feminists” as a “smoke screen” for “real economic problems,” 512 Shelley Streeby was filed under “Economy.”4 Much of the archival material and fiction that Butler produced relevant to the keyword “feminism” addresses intersections of gender, sexuality, race, and class in right-wing projects of the neoliberal era, from the 1970s through the early 2000s. As both a pejorative epithet used by the right to demonize women who deviated from patriarchally defined gender and sex roles as well as a term she counter-valued by claiming it for herself, intersectional “feminism” was central to Butler’s speculative collecting, research, and fiction-writing. Since her untimely death in 2006, Butler’s fame continues to grow as new generations embrace her work, since it speaks to our present in powerful ways. Butler rejected narrow genre categories and was ambivalent about the term “science fiction” as a descriptor for her writing, often expressing frustration with marketing categories and wondering if they stood in the way of reaching a wider audience. The umbrella term “speculative ” is useful both for recognizing the boundary-crossing dimensions of Butler’s writing, in its defiance of narrow definitions of genre, and for describing Butler’s contributions to feminist theories of knowledge production, political leadership, and imagining the future. Since Butler’s archive at the Huntington opened to researchers in 2013... (shrink)

ABSTRACTShelley’s “Letter to Maria Gisborne” is a playful improvisational verse epistle, widely praised for its urbanity and its display of the poet’s invention. The verses turn on a catalogue of the collection of odd scientific and mechanical objects that Shelley found scattered around him in the place he composed the letter, the Livorno workshop of Gisborne’s son, a young engineer who was building a new-model steamboat at the time. In the context of that space, the poem reads as a (...) response to competing notions of invention. For Shelley, the engineer’s workshop is an attractive alternative to the poet’s tower—which was uncomfortably close to a Grub Street garret. Verbal and visual images of poets’ and scientists’ workshops, from Hogarth and Mary Robinson, to Joseph Wright of Derby and Frankenstein, illustrate the tensions embodied in the physical location and poetic performance of Shelley’s celebrated “Letter.”. (shrink)

BackgroundHIV prevention research in resource-limited countries is associated with a variety of ethical dilemmas. Key amongst these is the question of what constitutes an appropriate standard of health care (SoC) for participants in HIV prevention trials. This paper describes a community-focused approach to develop a locally-appropriate SoC in the context of a phase III vaginal microbicide trial in Mwanza City, northwest Tanzania.MethodsA mobile community-based sexual and reproductive health service for women working as informal food vendors or in traditional and modern (...) bars, restaurants, hotels and guesthouses has been established in 10 city wards. Wards were divided into geographical clusters and community representatives elected at cluster and ward level. A city-level Community Advisory Committee (CAC) with representatives from each ward has been established. Workshops and community meetings at ward and city-level have explored project-related concerns using tools adapted from participatory learning and action techniques e.g. chapati diagrams, pair-wise ranking. Secondary stakeholders representing local public-sector and non-governmental health and social care providers have formed a trial Stakeholders' Advisory Group (SAG), which includes two CAC representatives.ResultsKey recommendations from participatory community workshops, CAC and SAG meetings conducted in the first year of the trial relate to the quality and range of clinic services provided at study clinics as well as broader standard of care issues. Recommendations have included streamlining clinic services to reduce waiting times, expanding services to include the children and spouses of participants and providing care for common local conditions such as malaria. Participants, community representatives and stakeholders felt there was an ethical obligation to ensure effective access to antiretroviral drugs and to provide supportive community-based care for women identified as HIV positive during the trial. This obligation includes ensuring sustainable, post-trial access to these services. Post-trial access to an effective vaginal microbicide was also felt to be a moral imperative.ConclusionParticipatory methodologies enabled effective partnerships between researchers, participant representatives and community stakeholders to be developed and facilitated local dialogue and consensus on what constitutes a locally-appropriate standard of care in the context of a vaginal microbicide trial in this setting.Trial registrationCurrent Controlled Trials ISRCTN64716212. (shrink)

The purpose of this article is to invigorate debate concerning the nature of analogy, and to broaden the scope of current conceptions of analogy. We argue that analogizing is not a single or even a fundamental cognitive process. The argument relies on an analysis of the history of the concept of analogy, case studies on the use of analogy in scientific problem solving, cognitive research on analogy comprehension and problem solving, and a survey of computational mechanisms of analogy comprehension. Analogizing (...) is regarded as a macrocognitive phenomenon having a number of supporting processes. These include the apperception of resemblances and distinctions, metaphor, and the balancing of semantic flexibility and inference constraint. Psychological theories and computational models have generally relied on (a) a sparse set of ontological concepts (a property called “similarity” and a structuralist categorization of types of semantic relations), (b) a single form category (i.e., the classic four-term analogy), and (c) a single set of morphological distinctions (e.g., verbal vs. pictorial analogies). This article presents a classification based on a “naturalistic” exploration of the variety of uses of analogical reasoning in pragmatically distinct contexts. The resultant taxonomy distinguishes pre-hoc, ad-hoc, post-hoc, pro-hoc, contra-hoc, and trans-hoc analogy. Each will require its own macrocognitive modeling, and each presents an opportunity for research on phenomena of reasoning that have been neglected. (shrink)

In this new installation of his work, William E. Connolly examines entanglements between volatile earth processes and emerging cultural practices. He highlights relays between extractive capitalism, self-amplifying climate processes, migrations, democratic aspirations, and fascist dangers. In three interwoven essays, Connolly takes up thinkers in the "minor tradition" of European thought who, unlike Cartesians and Kantians, cross divisions between nature and culture. He first offers readings of Sophocles and Mary Shelley, asking whether close attention to the Anthropocene could perhaps have (...) arrived earlier had later humanists absorbed their lessons. He then joins Deleuze and Guattari's notion of an abstract machine with contemporary earth sciences, doing so to compare the Antique Little Ice Age in late Rome to relays today between extractive capitalism and accelerating climate processes. The final essay stages a dialogue between Alfred North Whitehead and Michel Foucault about the pursuit of truth during a time of planetary turbulence. With _Climate Machines, Fascist Drives, and Truth_, Connolly forges incisive interventions into key issues of our time. (shrink)

'Ugly as sin', 'ugly duckling', 'rear its ugly head'. The word 'ugly' is used freely, yet it is a loaded term: from the simply plain and unsightly to the repulsive and even offensive, definitions slide all over the place. Hovering around 'feared and dreaded', ugliness both repels and fascinates. But the concept of ugliness has a lineage that has long haunted our cultural imagination. Gretchen E. Henderson explores perceptions of ugliness through history, from ancient Roman feasts to medieval grotesque gargoyles, (...) from Mary Shelley's monster cobbled from corpses to the Nazi Exhibition of Degenerate Art. Covering literature, art, music and even Uglydolls, Henderson reveals how ugliness has long posed a challenge to aesthetics and taste. Henderson digs into the muck of ugliness, moving beyond the traditional philosophic argument or mere opposition to beauty, and emerges with more than a selection of fascinating tidbits. Following ugly bodies and dismantling ugly senses across periods and continents, [this book] draws on a wealth of fields to cross cultures and times, delineating the changing map of ugliness as it charges the public imagination. Illustrated with a range of artefacts, this book offers a refreshing perspective that moves beyond the surface to ask what 'ugly' truly is, even as its meaning continues to shift. (shrink)

Two hundred years after it was first published, Mary Shelley’s Frankenstein; or, the modern Prometheus remains relevant. This novel has endured because of its literary merits and because its themes lend themselves to analysis from multiple viewpoints. Scholars from many disciplines have examined this work in relation to controversial scientific research. In this paper, we review the academic literature where Frankenstein is used to discuss ethics, bioethics, science, technology and medicine. We searched the academic literature and carried out a (...) content analysis of articles discussing the novel and films derived from it, analyzing the findings qualitatively and quantitatively. We recorded the following variables: year and language of publication, whether it referred to the novel or to a film, the academic discipline in which it was published, and the topics addressed in the analysis. Our findings indicate that the scientific literature on Frankenstein focuses mainly on science and the personality of the scientist rather than on the creature the scientist created or ethical aspects of his research. The scientist’s responsibility is central to the ethical interest of Frankenstein; this issue entails both the motivation underlying the scientist’s acts and the consequences of these acts. (shrink)

BackgroundAdvances in biomedicine can substantially change human life. However, progress is not always followed by ethical reflection on its consequences or scientists’ responsibility for their creations. The humanities can help health sciences students learn to critically analyse these issues; in particular, literature can aid discussions about ethical principles in biomedical research. Mary Shelley’sFrankenstein; or, the modern Prometheus(1818) is an example of a classic novel presenting complex scenarios that could be used to stimulate discussion.Main textWithin the framework of the 200th (...) anniversary of the novel, we searched PubMed to identify works that explore and discuss its value in teaching health sciences. Our search yielded 56 articles, but only two of these reported empirical findings. Our analysis of these articles identified three main approaches to usingFrankensteinin teaching health sciences: discussing the relationship between literature and science, analysing ethical issues in biomedical research, and examining the importance of empathy and compassion in healthcare and research. After a critical discussion of the articles, we propose usingFrankensteinas a teaching tool to prompt students to critically analyse ethical aspects of scientific and technological progress, the need for compassion and empathy in medical research, and scientists’ responsibility for their discoveries.ConclusionFrankensteincan help students reflect on the personal and social limits of science, the connection between curiosity and scientific progress, and scientists’ responsibilities. Its potential usefulness in teaching derives from the interconnectedness of science, ethics, and compassion.Frankensteincan be a useful tool for analysing bioethical issues related to scientific and technological advances, such as artificial intelligence, genetic engineering, and cloning. Empirical studies measuring learning outcomes are necessary to confirm the usefulness of this approach. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Last Man by Mary ShelleyJennifer A. Wagner-LawlorMary Shelley. The Last Man. 1826. Edited by Chris Washington. Norton Critical Editions. New York: W. W. Norton, 2023. xxiv + 571 pp. Paperback, ISBN 9780393887822.New critical editions of well-known literary works serve several important functions, and those designed specifically for students serve two of the most important: to introduce readers to texts that were overlooked during and since the (...) author’s time, but that might find greater favor today; and to re-introduce to a new generation of students classic texts that have lost critical favor or been neglected. Mary Shelley’s The Last Man (1826) is a novel long overshadowed by brilliance and resilient legacy of her first novel, Frankenstein (1818), written at a mere eighteen years of age. As so often happened to nineteenth-century women who published under their own names, both Frankenstein and The Last Man were hammered critically by male reviewers (and often by the few female ones) unable to believe any woman, and certainly no “good” woman, could compose these stories. And by 1826, Mary Shelley had already gained notoriety thanks to her association with the radical politics and “free-loving” Shelley-Byron circle). No wonder then that contemporaneous reviewers—even as they brought themselves to compliment the narratological and formal accomplishment the novel represents—could not countenance either its content or its author, as the novel “violated” certain forms of literary and gender propriety: indeed, the novel was deemed the product of a “diseased imagination” (The Monthly Review).Modern assessments of the novel are far more admiring of Shelley’s sophisticated examination of national and cultural mythic structuralizations, and receptive to the boldness of Shelley’s profoundly ironical assessments of them. In this new Norton Critical Edition of The Last Man, Chris Washington comes to the text with a refreshingly undeferential approach to Shelley’s Romantic forebears and immediate companions. Not because they [End Page 582] deserve being knocked off their pedestals, but because—granting all that—Shelley’s text has a lot more to give to us. This is the first time the Norton Critical Edition series has produced an annotated critical edition of The Last Man (Broadview’s appeared in 1996), and it is therefore both welcome and well overdue. For this reader, The Last Man is in some ways arguably superior to Frankenstein, certainly better written and developed. Frankenstein packs the greater punch, but The Last Man picks up and reweaves, on a much larger loom, the same thematic threads: justice and judgment; hospitality and generosity; family love and ethical obligation to community and nation; “civilized” and “wild” spaces. These themes are figured not only in terms of landscape but also in terms of geopolitical organization (i.e., the West vs. “the East,” presumed source of the virus); the bounded- vs. unbound-ness of the creative imagination (also tied to cultural notions of civilization and wilderness); solitude and loneliness; alienness and otherness; alienation and self-alienation and/as dehumanization; the human and the posthuman. While part of Frankenstein’s greatness is its narrative concision and stylistic spareness, the greatness of The Last Man, written by the more mature writer, intellectually and technically (and without the interference of Percy Shelley), is how fully Shelley “fleshes out” those entanglements in this later novel.Setting aside therefore the inclusion of “the usual suspects” (xx) of earlier editions, Washington gives space to critical approaches that are not focused so intensely on the influences of Shelley’s biography. In an excellent introduction Washington emphasizes the various ways in which this novel opens up to (still) intractable political and human rights issues: slavery, imperialism, nonheteronormative genders and sexualities, and precarious lives.Washington addresses particularly what Shelley’s text has to offer—and does offer—to today’s students. He shares his own experience of teaching this novel during COVID times, finding the students, used to speed of communication and multimedia delivery, resistant initially to the narrative’s pacing, and reintroducing them to the pleasures of the slow build-up of plot and setting, as well as the excruciating tension of watching a slow-burn approach to seemingly unavoidable catastrophe. But Washington rejects... (shrink)

Frankenstein é um dos personagens mais populares da ficção. Nascido no romance de Mary Shelley, ele está completando 180 anos, mas já transcendeu as fronteiras da literatura. Há 65 anos, é encontrado nas telas cinematográficas, somando 117 aparições, perdendo apenas para o Conde Drácula, com 161, no gênero de filmes de terror. Este ensaio, atravessado por suas precariedades e limitações históricas, procurará respostas sobre o mito de Frankenstein. É importante investigar as significações desta experiência de alma, que lhe asseguram (...) atualidade e permanência às vésperas do terceiro milênio. Para tanto, serão usados os pressupostos da Psicanálise, compatibilizados com os do filósofo Louis Althusser. (shrink)

Este ensaio pretende explorar a hipótese de que haveria subjacente à indistinção criada na figura do monstro de Frankenstein, entre o humano e não-humano, um princípio mimético que embora não necessariamente implique o monstruoso, foi a ele associado. Entender que algo que imita a perfeição de um ser humano, em todas as suas características, sobretudo linguísticas, seria um ser humano, ou seja, ter a imitação como critério para se definir o humano, é colocado em questão no romance de Mary (...) class='Hi'>Shelley. (shrink)

A partir de uma análise comparativa entre a obra consagrada Frankenstein, de Mary Shelley, e a trilogia contemporânea Jogos Vorazes, de Suzanne Collins, este trabalho pretende assinalar a visão pessimista quanto ao progresso tecnológico e científico que ambas compartilham. Apoiamo-nos na teoria de Walter Benjamin e Hannah Arendt, pensadores que escreveram sobre a mesma visão pessimista. Ademais, nossa pesquisa investiga as faces da monstruosidade na trilogia Jogos Vorazes em contraste com a criatura gerada por Frankenstein, categorizada como monstro clássico. (...) Por fim, assinalamos a provável inclinação das mensagens finais para um pessimismo quanto ao progresso científico e tecnológico. Nosso objetivo é o de mostrar como essas histórias, separadas por quase duzentos anos, convergem para o mesmo questionamento sobre o futuro. (shrink)

The paper investigates the video game discourse of the Russian state media from 2011 to 2015. Critical discourse analysis serves as a methodological framework for this work, and Foucault’s power/knowledge model is used to explain the logic behind the «grotesque discourses». In the Russian press, video games are described as an instance of inculcation, provoking overintense emotions and forcing individuals to commit symbolic acts impossible from the standpoint of “normal” pedagogy. The paper problematizes the mythologization of violence in video games (...) and identifies the main tropes used to establish the connection between video games and violence (murders) as “natural” and “obvious”. Particular attention is paid to the publications of Aleksandr Minkin, a reporter at “Moskovskij Komsomolets” (“Moscow Komsomol Member”) and one of the most prominent critics of video games, as well as to the media coverage of the first school shooting in Russia (shooting at school № 263 in 2014). It is shown that video games are used in the media discourse as an explanatory principle that allows a shift from the crime to the criminal, to those acts which reveal moral depravity or psychological disorder, and those circumstances which foster criminalism. Pointing to the games helps restore the “normal” connection between social and moral qualities, explaining the crime committed by an honours student from a “good family” as being the result of the depictions of violence in video games affecting the child’s psyche. Video games are also described as a factor in shaping the “digital generation” or “generation of gamers” — odd and politically dangerous. The dangers that games create for both gamers and society in general (the non-distinction between the “real” and the “virtual”, the illusion of a “possible restart”) allow the journalists and experts to insist on strengthening measures of supervision and protection, and expanding legal and medical control. (shrink)

Hybride der Romantik: Frankenstein, Olimpia und das künstliche Leben. Dieser Beitrag untersucht Vorstellungen über die Möglichkeit der Erzeugung künstlicher Lebewesen in der Zeit der Romantik und die damit verbundenen Ängste am Beispiel zweier fiktionaler Texte: Mary Shelleys Frankenstein und Ernst Theodor Amadeus Hoffmanns Sandmann. Dr. Franksteins Monster und Dr. Spalanzanis Automat verkörpern – auf unterschiedliche Weise – die Möglichkeit einer Wendung wissenschaftlicher Produkte und insbesondere künstlicher Hybride ins Monströse. Ihre Geschichten thematisieren das Grauen, das vom drohenden Kontrollverlust ausgeht und als (...) der modernen Wissenschaft innewohnende Gefahr selbst nach der Zerstörung der monströsen Kreaturen bestehen bleibt. Der Begriff des Unheimlichen, von Ernst Jentsch und Sigmund Freud mit Bezug auf Hoffmanns Sandmann formuliert und 1970 von dem japanischen Robotiker Masahiro Mori als Phänomen „des unheimlichen Tals“ (Uncanny Valley) weiterentwickelt, erlaubt weitere Einblicke in die Frage nach künstlichen Lebewesen und ihre Interaktion mit Menschen. Summary: Hybrids of the Romantic: Frankenstein, Olimpia, and Artificial Life. This essay analyzes fantasies and fears related to the possible creation of artificial humans in two influential pieces of Romantic literature, namely E.T.A. Hoffmann's Der Sandmann and Mary Shelley's Frankenstein. Both the automaton Olimpia and Dr. Frankenstein's monster are hybrid creatures. These dystopian figures represent the Romantic fear of the loss of control over the outcome of human endeavour, they symbolize the dangers immanent in modern science and technology. As hybrids, Olimpia and Frankenstein's monster are capable of breaking apparently unpenetrable boundaries, such as those between human and non‐human, and between life and death. As such, these creatures become “unheimlich” (uncanny), a critical term developed by Ernst Jentsch and Sigmund Freud, who directly referred to Hoffmann's Sandman. The term “uncanny” was further developed by the Japanese roboticist Masahiro Mori in the 1970s. Mori's investigation of human responses to androids (“Uncanny Valley”), shows the persistence of doubts and fears surrounding artificial humans far beyond the Romantic times, and opens new questions related to the issues of creation, reproduction, hybrids, hubris and gender. (shrink)

The target articles in this special section shed new light on the old question whether and how emotions influence action. However, what is missing is a straightforward motivational analysis—considering what we have learned from the science of explaining the “why” and “how” of behavior. I posit that emotions can influence the motivation process and thus action by fulfilling at least three functions: First, being grounded in needs, experienced emotions can function as strong need-like motivational states. Second, anticipated emotions can function (...) as incentives and justify action. Third, emotions can inform about progress in goal pursuit permitting behavior calibration. In summary, there is little doubt that emotions influence action. They can do so because they are hypo-phenomena of motivation. (shrink)

From the legendary inventor Daedalus to Goethe's tragic Faust, from the automata-making magicians of E.T.A Hoffmann to Mary Shelley's Victor Frankenstein – ...

The archive produces a linear time that reaches towards ‘what could be’ by asserting ‘what has been’, providing us reassurance of our existence through the assertion of a reliably past past. But the Anthropocene is an era of uncontained material ramifications, where the past juts into the future and temporality warps as change accelerates unexpectedly. As an ecological and geologic epoch, documentation of the Anthropocene inherently has a relationship to natural history museums and archives. These institutions, however, troublingly rest on (...) what Elaine Graham calls ‘ontological hygiene’ – the separateness of the human subject from ‘nature’. The Anthropocene however, challenges the western post-Enlightenment binary of man vs. nature, as it (supposedly) naturalizes humans into an earth systems force. As such, documentation of this epoch might resist ontological sanitation. This article outlines an artistic research practice to create artefacts of the Anthropocene – one that invites material idiosyncrasies, objects-in-becoming, ephemerality, and decay. I suggest that artistic ‘anarchices’ prioritize process over objects, and resist linear and static representation in lieu of material, embodied and sensory artefacts. These include relational encounters with waste materials, reworked forms of ‘geology’, edible artefacts and multimedia works at landfills and feral sites. The anarchives are interpolated by a rejection of hegemonic logic, positivism and ‘objective’ truths about environmental phenomena; Situated, ambiguous and material knowledges are inwrought into the so-called Anthropocene (and any alternatives to this term). By focusing on waste as an analytical category, I explore some of the ontological breakdowns present in the Anthropocene and question how to unorder systems and disturb materiality. (shrink)

Even as the philosopher can show us how to treat an object conceptually as a work of art, by regarding it in some context, so Cavell constantly implies that there are parables to be drawn about the way we treat the objects of our consciousness and the subjects of parts of it. But this special sort of treatment—like projective imagination itself—is not fancy or wit but more like a kind of epistemological fabling that is close to what Shelley called, (...) in A Defense of Poetry, "moral imagination." What is so powerful—and yet elusive of the nets of ordinary intellectual expectation—in The Claim of Reason is the way in which the activities of philosophizing become synecdochic, metonymic, and generally parabolic for the activities of the rest of life itself. It is the way in which the large , unphilosophical, "poetic," or "religious" questions are elicited from their precise and technical microcosms that makes so much of this book poetical, but not "literary," philosophy. When he writes of how tragedy "is the story and study of a failure of acknowledgment, of what goes before it and after it—i.e., that the form of tragedy is the public form of skepticism with respect to other minds"; or when, after brilliantly adducing The Winter's Tale in his consideration of Othello, he confronts the magic of Hermione's statue coming to life, he observes that "Leontes recognizes the fate of stone to be the consequence of his particular skepticism," the reader can perceive the kind of vast fiction in which minds, bodies, the privacy of insides, dolls, statues, and other representations figure as agents and elements. It will take longer to understand, I think, the imaginative significance of the earlier portions of the book. The philosophers who find its terrain familiar tend to have little patience with poetry; the reader whose sensibility is "literary" may be unable to distinguish between the arguments and examples, and the meta-arguments and examples, of the discussions of Wittgensteinian and Austinian method. Both kinds of readers should keep at it. John Hollander, a distinguished poet and critic, is professor of English at Yale. The author of The Untuning of the Sky: Ideas of Music in English Poetry, 1500-1700, Vision and Resonance: Two Senses of Poetic Form, and The Figure of Echo, his books of poetry include Spectral Emanations and Blue Wine and Other Poems. (shrink)

In some young children brought by their parents for diagnosis of acute life-threatening events investigations suggested imposed apnoea as the cause rather than spontaneous occurrence. Covert video surveillance of the cot in which the baby was monitored allowed confirmation or rebuttal of this diagnosis. That parents were not informed of the video recording was essential for diagnosis and we assert ethically justifiable as the child was the patient to whom a predominant duty of care was owed. The procedure also avoids (...) the risk of separation of child from parent on inadequate information. (shrink)

The line of thought from which contemporary Social Science has come forth was occupied with problems of public policy in a way which has since become very much less prominent in the work of social scientists. The classic figures of social thought —Aristotle, Plato, Adam Smith, Montesquieu, Jeremy Bentham, James and John Stuart Mill, Ricardo, Hobbes and Locke, Burke, Machiavelli and Hegel—were all involved in the consideration of the fundmental problems of policy from the point of view of the man (...) who had to exercise power and to make practical decisions. Even where they themselves lived in remoteness from practical affairs the clarification of the standards for the judgment and guidance of public policy was always close to the centre of their attention. The politician's problems, reduced to fundamentals, were their problems. The problem of maintaining order through the prince's exercise of power was the point of departure of classical political philosophy; it was extended by modern liberalism to the maintenance of liberty in a framework of order. Political philosophy was regarded by those who professed it, as a means of enlightening rulers—and citizens—as to the right ends and the approximate means. The great ancestor of modern empirical social research, Sir William Petty, who regarded his task as the quantitative matter-of-fact description of what existed, viewed his problem as set by the prince's need to safeguard and maximise his power. Early economic theory accepted the same task. Even after mercantalism gave way to liberalism, economic theory was still intended to be a guide to policy. (shrink)

Control of wild animals may give rise to controversy, as is seen in the case of badger control to manage TB in cattle in the UK. However, it is striking that concerns about the potential suffering of the affected animals themselves are often given little attention or completely ignored in policies aimed at dealing with wild animals. McCulloch and Reiss argue that this could be remedied by means of a “mandatory application of formal and systematic Animal Welfare Impact Assessment ”. (...) Optimistically, they consider that an AWIA could help to resolve controversies involving wild animals. The aim of this paper is to evaluate the potential of AWIA. We begin by showing how ideas akin to AWIA already play a significant role in other animal ethics controversies, particularly those concerning laboratory animal use and livestock production; and we bring in lessons learnt from these controversies. Then we comment on the suggested development and application of AWIA in the case of badger control. Finally, we discuss the prospects of applying AWIA to other sorts of wild animal controversy. We argue that the AIWA, as developed by McCulloch and Reiss, relies on several dubious premises, including that killing is a welfare issue. Furthermore, we argue that AWIA is unlikely to prevent serious moral disagreements over how to weigh concerns about wild animals against priorities in human health, the health of domestic and farm animals, and biodiversity, but that it may nonetheless serve to limit harms imposed on the wild animals. (shrink)