Objective Moral distress is a complex phenomenon experienced by healthcare professionals. This study examined the relationships between key dimensions of Organizational Culture in Healthcare (OCHC)—perceived psychological safety, ethical climate, patient safety—and healthcare professionals’ perception of moral distress.Design Cross-sectional surveySetting Pediatric and adult critical care medicine, and adult hospital medicine healthcare professionals in the United States.Participants Physicians (n = 260), nurses (n = 256), and advanced practice providers (n = 110) participated in the study.Main outcome measures Three dimensions of OCHC were (...) measured using validated questionnaires: Olson’s Hospital Ethical Climate Survey, Agency for Healthcare Research and Quality’s Patient Safety Culture Survey, and Edmondson’s Team Psychological Safety Survey. The perception of moral distress was measured using the Moral Distress Amidst a Pandemic Survey. The hypothesized relationships between various dimensions were tested with structural equation modeling (SEM).Results Adequate model fit was achieved in the SEM: a root-mean-square error of approximation =0.072 (90% CI 0.069 to 0.075), standardized root mean square residual = 0.056, and comparative fit index =0.926. Perceived psychological safety (β= −0.357, p <.001) and patient safety culture (β = −0.428, p<.001) were negatively related to moral distress experience. There was no significant association between ethical climate and moral distress (β = 0.106, p = 0.319). Ethical Climate, however, was highly correlated with Patient Safety Culture (factor correlation= 0.82).Conclusions We used structural equation model to test a theoretical model of multi-dimensional organizational culture and healthcare climate (OCHC) and moral distress.Significant associations were found, supporting mitigating strategies to optimize psychological safety and patient safety culture to address moral distress among healthcare professionals. Future initiatives and studies should account for key dimensions of OCHC with multi-pronged targets to preserve the moral well-being of individuals, teams, and organizations. (shrink)

This book investigates intersections between the philosophy of nature and Hellenism in British and German Romanticism, focusing primarily on five central literary/philosophical figures: Friedrich Schelling, Friedrich Hölderlin, Johann Wolfgang von Goethe, Percy Shelley, and Lord Byron. Near the end of the eighteenth century, poets and thinkers reinvented Greece as a site of aesthetic and ontological wholeness, a move that corresponded with a refiguring of nature as a dynamically interconnected web in which each part is linked to the living whole. (...) This vision of a vibrant materiality that allows us to become “one with all that lives,” along with a Romantic version of Hellenism that wished to reassemble the broken fragments of an imaginary Greece as both site and symbol of this all-unity, functioned as a two-pronged response to subjective anxiety that arose in the wake of Kant and Fichte. The result is a form of resistance to an idealism that appeared to leave little room for a world of beauty, love, and nature beyond the self. (shrink)

Introduction : kith, kin, and family / Sally Haslanger and Charlotte Witt Adoption and its progeny : rethinking family law, gender, and sexual difference / Drucilla Cornell Open adoption is not for everyone / Anita L. Allen Methods of adoption : eliminating genetic privilege / Jacqueline Stevens Several steps behind : gay and lesbian adoption / Sarah Tobias A child of one’s own : property, progeny, and adoption / Janet Farrell Smith Family resemblances : adoption, personal identity, and genetic essentialism (...) / Charlotte Witt Being adopted and being a philosopher : exploring identity and the "desire to know" differently / Kimberly Leighton Real othering : the metaphysics of maternity in children’s literature / Shelley Park Accidents and contingencies of love / Songsuk Hahn ; comments by Harry Frankfurt Abuse and neglect, foster drift, and the adoption alternative / Elizabeth Bartholet Feminism, race, and adoption policy / Dorothy Roberts Racial randomization / Hawley Fogg-Davis You Mixed?: racial identity without racial biology / Sally Haslanger. (shrink)

Presents general information about meteorology, weather, and climate and includes more than thirty activities to help study these topics, including making a ...

_Ethics and the University_ brings together two closely related topics, the practice of ethics in the university and the teaching of practical or applied ethics in the university. This volume is divided into four parts: * A survey of practical ethics, offering an explanation of its recent emergence as a university subject, situating that subject into a wider social and historical context and identifying some problems that the subject generates for universities * An examination of research ethics, including the problem (...) of plagiarism * A discussion of the teaching of practical ethics. Michael Davis explores how ethics can be integrated into the university curriculum and what part particular cases should play in the teaching of ethics * An exploration of sexual ethics _Ethics and the University_ provides a stimulating and provocative analysis of academic ethics which will be useful to students, academics and practitioners. (shrink)

A growing body of literature critical of ethics review boards has drawn attention to the processes used to determine the ethical merit of research. Citing criticism on the bureaucratic nature of ethics review processes, this literature provides a useful provocation for (re)considering how the ethics review might be enacted. Much of this criticism focuses on how ethics review boards _deliberate,_ with particular attention given to the lack of transparency and opportunities for researcher recourse that characterise ethics review processes. Centered specifically (...) on the conduct of ethics review boards convened within university settings, this paper draws on these inherent criticisms to consider the ways that ethics review boards might enact more communicative and deliberative practices. Outlining a set of principles against which ethics review boards might establish strategies for engaging with researchers and research communities, this paper draws attention to how _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ for the ethics review might be enacted in the day-to-day practice of the university human ethics review board. This paper develops these themes via a conceptual lens derived from Habermas’ (The theory of communicative action. Volume 1: Reason and the rationalization of society, 1984 ) articulation of ‘communicative action’ and Fraser’s (Social Text, 25(26), 56–80, 1990 ) consideration of ‘strong publics’ to cast consideration of the role that human ethics review boards might play in supporting university research cultures. _Deliberative communication_, _Engagement with researchers_ and the _Distribution of responsibility_ provide useful conceptual prompts for considering how ethics review boards might undertake their work. (shrink)

A common criticism of the use of algorithms in criminal justice is that algorithms and their determinations are in some sense ‘opaque’—that is, difficult or impossible to understand, whether because of their complexity or because of intellectual property protections. Scholars have noted some key problems with opacity, including that opacity can mask unfair treatment and threaten public accountability. In this paper, we explore a different but related concern with algorithmic opacity, which centers on the role of public trust in grounding (...) the legitimacy of criminal justice institutions. We argue that algorithmic opacity threatens the trustworthiness of criminal justice institutions, which in turn threatens their legitimacy. We first offer an account of institutional trustworthiness before showing how opacity threatens to undermine an institution’s trustworthiness. We then explore how threats to trustworthiness affect institutional legitimacy. Finally, we offer some policy recommendations to mitigate the threat to trustworthiness posed by the opacity problem. (shrink)

This work is an essay in Peirce's epistemology, with about an equal emphasis on the "epistemology" as on the "Peirce's." In other words our intention has not been to write exclusively a piece of Peirce scholarshiJ> hence, the reader will find no elaborate tying in of Peirce's epistemology to other portions of his thought, no great emphasis on the chronology of his thought, etc. Peirce scholarship is a painstaking business. His mind was Labyrinthine, his terminology intricate, and his writings are, (...) as he himself confessed, "a snarl of twine." This book rather is intended perhaps even primarily as an essay in epistemology, taking Peirce's as the focal point. The book thus addresses a general philosophical audience and bears as much on the wider issue as on the man. I hope therefore that readers will give their critical attention to the problem of knowledge and the sugges tions we have developed around that problem and will not look here in the hope of finding an exhaustive piece of Peirce scholarship. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Science, Richard Holmes suc- ISBN 9780375422225. Paper, Harper, ceeds admirably in pursing the London, 2009. £9.99, C$21.95. ISBN latter meaning, though he has 9780007149537. Vintage, New York, ambitions also to explore the 2010. $17.95. ISBN 9781400031870. former. Holmes, a biographer of Shelley, Coleridge, and Dr. Johnson, has woven together several tales of English scientists who ventured to exotic lands, flung themselves into love affairs, and wrote sonnets to science. The likes of Joseph Banks, William and Caroline Herschel, Mungo Park, (...) and Humphry Davy displayed, in the calmer English manner, the kind of personalities that discovered the “beauty,” if not exactly the “terror,” of science. Holmes dishes up the faux terror in his chapter on Mary Shelley’s Frankenstein, although the wilder opinions of Samuel Taylor Coleridge, who passes through his pages in a drug-induced ramble, are unsettling enough. The lives of the individuals whose accomplishments Holmes depicts are bracketed by James Cook’s fi rst voyage to the South Pacifi c and Darwin’s Beagle adventure. With dexterity and considerable but unobtrusive scholarship, Holmes goes far to reveal “the scientifi c process by which a mind of acknowledged power actually proceeds in the path of successful enquiry.” That last line comes from David Brewster’s Life of Sir Isaac Newton. The minds Holmes depicts, however, stand deep in the shadow of the standard by which Brewster gauged scientifi c power. Joseph Banks, botanist and long-time president of the Royal Society, serves Holmes as his Virgil, helping to link together the lives of his other protagonists. Banks gained his scientifi c reputation as a botanist on Cook’s fi rst voyage, though Holmes only touches lightly on the botanical work. He rather lingers, as a deft biographer might, over the scientist’s. (shrink)

Resolution of quarrels arising from conflicting sacred values, as in the Middle East, may require concessions that acknowledge the opposition's core concerns.

Berger and Miller offer a strong argument for how cultural competence in medical education reinforces the racial structures that it purports to address. As social scientists with expertise i...

Recently a new question has emerged in the philosophy of religion: not whether God exists, but whether God’s existence is or would be preferable. The existing literature on the subject is sparse. The present essay, in dialogue form, is an attempt to marshal and evaluate arguments on both sides.

Ethics and Humanity pays to tribute to Jonathan Glover, a pioneering figure whose thought and personal influence have had a significant impact on applied ...

Heidegger's writings are among the most formidable in the philosophy. The pivotal concepts of his thought are for many the source of both fascination and frustration. This title includes chapters that introduce and explain a key Heideggerian concept, or a cluster of closely related concepts.

In recent years, discussions of Buddhist ethics have increasingly drawn upon the concepts and tools of modern ethical theory, not only to compare Buddhist perspectives with Western moral theories, but also to assess the meta-ethical implications of Buddhist texts and their philosophical context. Philosophers aiming to defend the Madhyamaka framework in particular – its ethics and soteriology along with its logic and epistemology – have recently attempted to explain its combination of moral commitment and philosophical scepticism by appealing to various (...) forms of meta-ethical anti-realism. This paper argues that those attempts do not succeed, even in their own terms. Their emphasis on universal compassion, among other features of their approaches, is difficult to explain normatively so long as it is embedded within an anti-realist framework. Soteriological values – such as enlightenment and liberation – also seem to require a realist account of their normativity. Though many Buddhist philosophers disagree, there is at least one form of Buddhist philosophy, that of the Yogācāra school, that can be interpreted as articulating a meta-ethical realism of the kind that the broader Mahāyāna tradition (if not other Buddhist traditions as well) seems to require. To a greater extent than stressing common anti-realist themes would allow, the paper argues that finding common ground, where Western moral realism and Buddhist moral realism can coalesce and jointly vindicate a repertoire of shared ethical concepts, may also facilitate the efforts of those engaged in comparative ethical theory. (shrink)

Christian Philosophical Theology constitutes a Christian philosopher's look at various crucial topics in Christian theology, including belief in God, the nature of God, the Trinity, christology, the resurrection of Jesus, the general resurrection, redemption, and theological method. The book is tightly argued, and amounts to a coherent explanation of and case for the Christian world view. While the work is written from a broadly Reformed Protestant perspective and the author does not avoid controversial topics, the aim is to present a (...) 'merely Christian' world view. That is, Stephen T. Davis attempts to write as much as possible from the perspective of the broad centre of Christian understanding. (shrink)

The purpose of this brief introduction is to describe the origin of the papers here presented and to acknowledge the help of some of the many individuals who were involved in the preparation of this volume. Of the eighteen papers, nine stem from the annual fall colloquium of the Depart ment of Philosophy at the University of Western Ontario held in London, Ontario from November 10 to November 12, 1967. The colloquium was entitled 'Philosophical Logic'. After some discussion, the editors (...) decided to retain that title for this volume. Von Wright's paper 'On the Logic and Ontology of Norms' is printed here after some revision. A. R. Anderson commented on the paper at the colloquium, but his comments here are based upon the revised version of the von Wright paper. The chairman of the session at which von Wright's paper was read and discussed was T. A. Goudge. Aqvist's paper 'Scattered Topics in Interrogative Logic', and Belnap's comments, 'Aqvist's Cor rections-Accumulating Question-Sequences', are printed as delivered. The chairman of the Aqvist-Belnap session was R. E. Butts. Wilfrid Sellars' paper 'Some Problems about Belief' is printed as delivered at the col loquium, but 'Quantifiers, Beliefs, and Sellars' by Ernest Sosa is a revision of his comments at the colloquium. That session was chaired by G. D. W. Berry. Ackermann's paper 'Some Problems oflnductive Logic', as well as Skyrms' comments, are printed as delivered. (shrink)

Traditional psychoanalysis relies on the presence of certain meaning-making capacities in the patient for its effectiveness. _Primitive Mental States_ examines how particular capacities including those for symbolising, fantasising, dreaming, experiencing and finding meanings in those experiences, can be taken for granted. Many of us lack these capacities in certain dimensions of our minds making traditional psychoanalysis ineffective. In this book, international contributors are brought together to consider a radical evolution in contemporary psychoanalytic theory developed from a combination of ultrasound studies, (...) infant analysis, and observation of mothers and babies. These findings demonstrate how much mental life exists even before birth and considers unevolved, unborn and barely born aspects of the self such as the birth of emotion and the birth of alpha functioning. Topics covered include: prenatal imprints on the mind and body difficult to treat patients non-verbal, non-symbolic, disembodied states of being early relational and attachment trauma. Illustrated throughout with original data and extensive clinical discussions from some of the biggest names in the field, _Primitive Mental States_ will be a useful resource for students and seasoned analysts alike. (shrink)

While risk of harm is an important focus for whether clinical research on humans can and should proceed, there is uncertainty about what constitutes harm to a trial participant. In Phase I trials on healthy volunteers, the purpose of the research is to document and measure safety concerns associated with investigational drugs, and participants are financially compensated for their enrollment in these studies. In this article, we investigate how characterizations of harm are narrated by healthy volunteers in the context of (...) the adverse events they experience during clinical trials. Drawing upon qualitative research, we find that participants largely minimize, deny, or re-attribute the cause of these AEs. We illustrate how participants' interpretations of AEs may be shaped both by the clinical trial environment and their economic motivation to participate. While these narratives are emblematic of the larger ambiguity surrounding harm in the context of clinical trial participation, we argue that these interpretations also problematically maintain the narrative of the safety of clinical trials, the ethics of testing investigational drugs on healthy people, and the rigor of data collected in the specter of such ambiguity. (shrink)

Cognitive Science, Volume 46, Issue 1, January 2022.

This article describes China’s century-long concern with the professional ethics of engineers, especially a succession of codes of engineering ethics going back at least to 1933. This description is the result both of our own archival research and of “philosophical history”, the application of concepts from the philosophy of professions to the facts historians (or we) have discovered. Engineers, historians, social scientists, and philosophers of technology, as well as students of professional ethics, should find this description interesting. It certainly provides (...) a reason to wonder whether those who write about codes of professional ethics as if they were an Anglo-American export unlikely to put down roots elsewhere might have overlooked many early codes outside English-speaking countries. While code writers in China plainly learned from Western codes, the Chinese codes were not mere copies of their Western counterparts. Indeed, the Chinese codes sometimes differed inventively from Western codes in form (for example, being wholly positive) or content (for example, protecting local culture). (shrink)

This review examines the main topics and the main thesis of Thomas Kasulis’s Engaging Japanese Philosophy. The book covers the entire fourteen-hundred-year history of philosophical thinking in Japan, with a focus on seven key Buddhist, Confucian, Native Studies, and modern academic philosophers. The author’s main thesis is that Japanese philosophers have predominantly aimed at an existentially “engaged knowing” rather than the kind of objectively “detached knowing” that has come to dominate modern western and—by colonial extension—most of modern Japanese academic philosophy.

This book, the first of its kind, offers a comprehensive introduction to the philosophy and practice of Zen Buddhism. It is written by an academic philosopher who, for more than a dozen years, practiced Zen in Japan while studying in universities with contemporary heirs of the Kyoto School. The book lucidly explicates the philosophical implications of Zen teachings and kōans, and critically compares Zen with other Asian as well as Western religions and philosophies. It carefully explains the original context and (...) sense of traditional Zen teachings and practices, and compellingly applies them to our twenty-first century lives. In addition to explaining the practice of Zen meditation, its twenty-four chapters treat perennial philosophical topics such as the self, nature, art, morality, language, peace, and death, as well as basic Buddhist teachings such as the four noble truths, the middle way, the no-self and true self doctrines, karma, mind and no-mind, rebirth, Nirvana, and the various meanings of the term “Buddha.” The chapters frequently engage Zen in interreligious dialogue with Christianity and with other religions and schools of Buddhism. The Zen inspired modern philosophies of the Kyoto School are introduced in one chapter and frequently referenced throughout the book. The concluding chapter reviews the entire path of Zen practice and enlightenment with an in-depth commentary on the beloved Zen classic, The Ten Oxherding Pictures. The book can be read in its entirety as a coherently organized introduction to the philosophy and practice of Zen, or chapters can be read independently according to the reader’s specific interests. While based on decades of scholarly study as well as practice and teaching, it is written in an accessible and engaging style. It is designed to be read by college students and lifelong learners as well as scholars and practitioners of the world’s great philosophical and spiritual traditions. (shrink)

In Practical Reality, Jonathan Dancy argues that our reasons for action are not psychological states, but things we take to be facts about the world, and shows that the reasons themselves are not causes. Dancy concludes that intentional actions are not explained by beliefs and desires, and that explanations of action in terms of reasons are not causal explanations. I show that these further conclusions are unwarranted by sketching an alternative theory of reasons according to which what it is for (...) an action to be done for a reason is for certain beliefs and desires to cause the action. Our reasons for action are the contents of those beliefs and desires. This theory is not only compatible with the facts about reasons Dancy has established, but explains many things that Dancy’s theory does not account for. I make no claim here about the precise adequacy of the simplified theoretical definitions I present. My goal is to show that a systematic theory along these lines is a promising approach to understanding an important aspect of human nature. (shrink)