This topically organized, interdisciplinary anthology provides competing perspective on the claim that western culture faces a moral crisis. Using clearly written, accessible essays by well-known authors in philosophy, the social sciences, and the humanities, the book introduces students to a variety of perspectives on the current cultural debate about values that percolates beneath the surface of most of our social and political controversies.

The article presents the catechumenal theology of St. Ambrose and St. Augustine, highlighting in the former, four elements proper to the baptismal itinerary of Milan, such as the agonistic character of the baptismal preparation, the biblical catechesis related to the biblical characters of the Old Testament, the virtues and the rite of the Effetá. Thirdly, the importance of the Traditio Symboli in Milan with its theology is highlighted, and finally the secret that St. Ambrose kept on the rites of Christian (...) initiation, in order to arise curiosity in those who were going to receive them. Subsequently, the theology of two rites belonging to the Easter Vigil, namely, the washing of the feet and the post-baptismal anointing with myrum, is discussed. The second part of the article, presents the Augustinian theology of the catechumenate, stressing three elements of the catechumenal process, namely, the fasting and other ascetic practices, the traditio symboli and the traditio orationis. On the post-baptismal rites the article emphasises the Eucharistic catechesis preached on Easter Sunday with its special characteristics and the final procession that was done on the last day of the Easter Week to a memoria martyrum. (shrink)

In this paper the author first presents a critical account of some basic views of Habermas' Discourse Philosophy. He points out some difficulties inherent in notions such as valid justification in argumentation theory, in the notion of ideal form of discourses, and in consensus theory of truth. Secondly, he focuses on Habermas' conceptions of validity, acceptance and legitimacy of law from the perspective of neo‐institutionalism. In particular, (i) the author argues that Habermas' definition of legal validity is unclear and unrealistic; (...) (ii) the author stresses the distinction between acceptance and acceptability; (iii) Habermas presupposes harmony between sovereignty and human rights postulates, but the present author takes into account the possibility of conflicts between autonomous popular decisions and human rights which must be resolved by methods of discursive democracy; (iv) criteria for acceptance of law cannot be fixed by a stipulative definition, but are in social discussion; (v) legitimacy is not an objective feature of valid law and presupposes an evaluation based on our political convictions. (shrink)

This is a remarkably well-written, accurate, and understanding survey of philosophy in the West from Augustine to Ockham. The author carefully traces the influence of Greek philosophy and of the three great religious traditions, Christianity, Judaism and Islam, on the great medieval scholastics. Prof. Weinberg's book is a real contribution toward a sympathetic grasp of a tradition which he tells us must be retained and reexamined incessantly if we are to learn from the past.—V. J. P.

Contiene tres trabajos sobre Arturo Ardao: sobre la noción de sujeto (Yamandú Acosta); sobre la interpretación de Andrés Bello (Arturo A. Roig); y sobre su libro Filosofía de lengua española (ver HLAS 36:5047). Mencionamos algunas de las otras contribuciones: el tema de la historia de la filosofía latinoamericana (Horacio Cerutti Guldberg); el batllismo (Manuel A. Claps); el tema de Calibán (Roberto Fernández Retamar); el pensamiento de Pedro Figari (Juan Fló); la universidad latinoamericana en el siglo XVIII (Gregorio Weinberg); el (...) pensamiento socialista en el Uruguay (Carlos Zubillaga). Es de lamentar que no se agregara al volumen una bibliografía de Ardao"--Handbook of Latin American Studies, v. 58. (shrink)

This article examines the philosophical methodology of intuitions beginning with an argument developed by Max Deutsch and Herman Cappelen over the descriptive adequacy of what Cappelen calls “methodological rationalism”, and their own preferred view, “intuition nihilism”. Based on inadequacies in both accounts, it offers a descriptive take on intuition-deploying philosophical practice today via what it calls “Protean Crypto-Rationalism”. It then describes the epistemic profile of the appeal to intuition, listing four key aspects of the basic shape of intuition-deploying philosophical practice: (...) primacy of cases, flexibility of report format, freedom of stipulation, and interpretation-hungry. It also considers several sources of error for intuitions featured in at least the informal methodological lore of philosophy, namely: misconstruals, modal confusions, pragmatics/semantics confusion, and “tin ear”. Finally, it explores the problem of methodological ignorance and inferential demand, particularly the typical practices of philosophical inference that operate on the premises delivered by appeal to intuitions. (shrink)

First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

In order to understand how infants come to understand others' intentions we need first to study how intentional engagements occur in early development. Engaging with intentions requires that they are, first of all, potentially available to perception and, second, that they are meaningful to the perceiver. I argue that in typical development it is in the infant's responses to others' infant-directed intentional actions that others' intentions first become meaningful. And that it is through the meaningful joining of intentions that understanding (...) continues to develop. I use three common arenas in the first year to illustrate this claim: infants' anticipatory adjustments to being picked up, infants' emerging compliance to others' directives, and infant teasing. Even by the age of two months infants adjust their postures appropriately, gazing at the adult's face as they approach with arms outstretched to pick them up. From the middle of the first year infants come to recognize the meanings of verbal directives and start to comply with them, being drawn further into the cultural worlds of their families. In the last quarter of the first year infants start to playfully tease and foil others' intentions in a variety of ways, actively redirecting the course of intentional engagements. Others' intentions are thus increasingly available to infants, allowing cooperation, challenge, and further elaboration. Joint intentional actions are best understood as the processes through which intention awareness develops rather than just as the products of such awareness. (shrink)

Governments are subject to the requirements of justice, yet often seem to go above and beyond what justice requires in order to act in ways many people think are good. These kinds of acts – examples of which include putting on celebrations, providing grants to poets, and preserving historic architecture – appear to be acts of government supererogation. In this paper, I argue that a common view about the relationship between government, coercion, and justice implies that most such acts are (...) not supererogatory, but wrong. Many will find that conclusion unattractive, but rejecting the common view that implies it raises problems, too. (shrink)

Suppose the only difference between the effects of two actions is to whom they apply: either to parties who would -- or would not -- exist if the actions were not performed. Is this a morally significant difference? This is one of the central questions raised by the Non-Identity Problem. Derek Parfit answers no, defending what he calls the ‘No-Difference View’. I argue that Parfit is mistaken and that sometimes this difference is morally significant. I do this by formulating a (...) familiar kind of example in a new way. I make use of some findings in social psychology to help deflect counterexamples to my view. I then show how my view withstands Parfit's latest argument in favour of the No-Difference View. I conclude with a brief discussion of some questions my argument raises for consequentialist moral theory. (shrink)

How ethics in human services is a political activity, shaping social relationships, is explored through the examination of two opposing discourses, a principle-based and a situated/relational narrative. Factors such as neo-liberalism, managerialism, and the risk-aversive society give a context for the reasons that the principle-based discourse has been the predominant influence, and what interests are served by this trope taking center stage. A delineation and critique of both perspectives are provided, including an explanation of the epistemological underpinnings of these discourses. (...) The piece ends with what needs to be done to strengthen ethics. (shrink)

The pacemaker-accumulator model provides a framework in which the results of different duration estimation tasks are commonly accounted for. Nevertheless, the model remains abstract and it does not provide proper explanations nor predictions for duration estimations in various experimental set-ups. This paper aims to address these shortcomings by explicating an experiential pacemaker-accumulator model that supplements the standard pacemaker-accumulator model with two claims. Both of them concern the role that experiences play in duration estimation tasks and are also partly supported by (...) studies not directly related to duration estimation. First, the internal responses based on which the switch between the pacemaker and the accumulator operates are the same as the neural processes that realize conscious access to experiences. Second, the processes that realize the experiences of stimuli realize the function of the pacemaker. By supplementing the standard pacemaker-accumulator model with these claims, the model affords proper explanations for the systematic errors and empirically testable predictions in duration estimations tasks. One likely consequence of the model is that the experience of duration and the duration of experience can differ. (shrink)

In the social sciences, the iconic definition of privilege is that of unearned advantage. Consequently, professionals in the social services may devote less attention to the examination of their own professional privilege since it has been earned. This article addresses ethical concerns about the earned privilege that accrues to professionals in the caring fields and the potential effects on service users. This paper will focus particularly on some of the pedagogical dimensions. The inherent paradox in socializing students into professional roles, (...) which enhance privilege, while attempting to reduce the power differentials with service users, requires attention by teachers. How one might lessen the hierarchy that is created between the helper and service user as a result of that privilege will be explored. The paper will detail professional privilege and both constructive and problematic impacts on the helping relationship. The ‘uneven’ advantage of being able to set the standards of health and morality are also discussed. In the process, ethical trespass may result. We will explore this concept and its implications. Because, privilege contributes to social stratification between helpers and recipients, the final segment offers one educational strategy that can be used to potentially lessen the ‘we–they’ duality. (shrink)

We consider a space with Generalized Uncertainty Principle which can be obtained in the frame of the deformed commutation relations. In the space with GUP we have found transformations relating coordinates and times of moving and rest frames of reference in the first order over the parameter of deformation. In the non-relativistic case we find the deformed Galilean transformation which is rotation in Euclidian space–time. This transformation is similar to the Lorentz one but written for Euclidean space–time where the speed (...) of light is replaced by some velocity related to the parameter of deformation. We show that for relativistic particle in the space with GUP the coordinates of the rest and moving frames of reference satisfy the Lorentz transformation with some effective speed of light. (shrink)

An examination of the idea of causal efficacy is taken up by the author because of recent interest in this theory as an adequate means of explaining concepts of natural science which are analogues to real essences. the author answers criticisms of hume's positive theory of causal belief and attacks the view that knowledge of causes gives some indications of the character of their effects. the conclusion states that grounds for reintroduction of the idea of causal efficacy appear to be (...) insufficient. (staff). (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

Using a case vignette as an illustration, an expanded framework for examining ethical issues in human service practice is proposed. The article argues that the helping relationship is multiply constructed through discursive fields, rather than being a given, and that the lens of ethics must be widened to understand both the highly contradictory nature of practice, with its accompanying paradoxes, and the broader structures that constrain and influence practitioners. The article draws on the centrality of the concept of ethical trespass (...) to recognize the inevitability of some level of harm in the application of human service work, despite intention or skill. At the same time, investigating workers' uses of resistance to the dominant discourses is suggested as a means to edge toward the reduction of trespass. (shrink)

In the course of modern philosophy, there have been several attempts to demonstrate the existence of ultimately simple objects by purely logical methods. One of the most recent of such attempts forms part of the foundation of Wittgenstein's logical doctrine. As Wittgenstein has, until quite recently, been considered the authoritative source of Logical Positivism, an examination of his supposed demonstration of logical simples is propaedeutic to an evaluation of the method of the school.