Medical research involving human subjects raises complex ethical, legal and social issues. Investigators sometimes find that their obligations with respect to a research project come into conflict with their obligations to individual patients. The ethical conduct of research rests on 3 guiding principles: respect for persons, beneficience, and justice. Respect for persons underlies the duty to obtain informed consent from study participants. Beneficence demands a favourable balance between the potential benefits and harms of participation. Justice requires that vulnerable people not (...) be exploited and that eligible candidates who may benefit from participation not be excluded without good cause. Studies must be designed in a way that ensures the validity of findings and must address questions of sufficient importance to justify the risks of participation. In any clinical trial there must be genuine uncertainty as to which treatment arm offers the most benefit, and placebo controls should not be used if effective standard therapies exist. Researchers have a responsibility to inform themselves about the ethical, legal and policy standards that govern their activities. When difficulties arise, they should consult the existing literature and seek the advice of experts in research ethics. (shrink)

Demands by Patients or their Families for treatment thought to be inappropriate by health care providers constitute an important set of moral problems in clinical practice. A variety of approaches to such cases have been described in the literature, including medical futility, standard of care and negotiation. Medical futility fails because it confounds morally distinct cases: demand for an ineffective treatment and demand for an effective treatment that supports a controversial end (e.g., permanent unconsciousness). Medical futility is not necessary in (...) the first case and is harmful in the second. Ineffective treatment falls outside the standard of care, and thus health care workers have no obligation to provide it. Demands for treatment that supports controversial ends are difficult cases best addressed through open communication, negotiation and the use of conflict-resolution techniques. Institutions should ensure that fair and unambiguous procedures for dealing with such cases are laid out in policy statements. (shrink)

This three-volume history of England from before the Roman conquest through to the Glorious Revolution of 1688 was originally serialised in Charles Dickens' magazine Household Words between 1851 and 1853. The text was published in book form in the same period, although each volume was post-dated to the following year. Dickens dedicated the work to his own children, intending it to be a stepping stone to more substantial histories. The volumes were popular with readers for decades, and (...) were used in British schools well into the twentieth century. Dickens employs his signature style to bring events and personalities to life, making use of vivid similes, unabashedly partisan language and direct speech, as well as the occasional moral lesson. Volume 1 covers the period from the campaigns of Julius Caesar up to the close of the reign of the 'miserable brute' King John. (shrink)

This three-volume history of England from before the Roman conquest through to the Glorious Revolution of 1688 was originally serialised in Charles Dickens' magazine Household Words between 1851 and 1853. The text was published in book form in the same period, although each volume was post-dated to the following year. Dickens dedicated the work to his own children, intending it to be a stepping stone to more substantial histories. The volumes were popular with readers for decades, and (...) were used in British schools well into the twentieth century. Dickens employs his signature style to bring events and personalities to life, making use of vivid similes, unabashedly partisan language and direct speech, as well as the occasional moral lesson. Volume 2 covers the period from the reign of Henry III through to the death in 1485 of the 'usurper and murderer' Richard III. (shrink)

This three-volume history of England from before the Roman conquest through to the Glorious Revolution of 1688 was originally serialised in Charles Dickens' magazine Household Words between 1851 and 1853. The text was published in book form in the same period, although each volume was post-dated to the following year. Dickens dedicated the work to his own children, intending it to be a stepping stone to more substantial histories. The volumes were popular with readers for decades, and (...) were used in British schools well into the twentieth century. Dickens employs his signature style to bring events and personalities to life, making use of vivid similes, unabashedly partisan language and direct speech, as well as the occasional moral lesson. Volume 3 covers the period from Henry VII through to the fall of James II, with a short chapter on events between 1688 and the accession of Queen Victoria. (shrink)

This three-volume history of England from before the Roman conquest through to the Glorious Revolution of 1688 was originally serialised in Charles Dickens' magazine Household Words between 1851 and 1853. The text was published in book form in the same period, although each volume was post-dated to the following year. Dickens dedicated the work to his own children, intending it to be a stepping stone to more substantial histories. The volumes were popular with readers for decades, and (...) were used in British schools well into the twentieth century. Dickens employs his signature style to bring events and personalities to life, making use of vivid similes, unabashedly partisan language and direct speech, as well as the occasional moral lesson. Volume 1 covers the period up to 1216. Volume 2 continues from Henry III to Richard III. Volume 3 traces events from Henry VII's accession to James II's fall. (shrink)

This three-volume history of England from before the Roman conquest through to the Glorious Revolution of 1688 was originally serialised in Charles Dickens' magazine Household Words between 1851 and 1853. The text was published in book form in the same period, although each volume was post-dated to the following year. Dickens dedicated the work to his own children, intending it to be a stepping stone to more substantial histories. The volumes were popular with readers for decades, and (...) were used in British schools well into the twentieth century. Dickens employs his signature style to bring events and personalities to life, making use of vivid similes, unabashedly partisan language and direct speech, as well as the occasional moral lesson. Volume 1 covers the period from the campaigns of Julius Caesar up to the close of the reign of the 'miserable brute' King John. (shrink)

This book features two old philosophical friends engaged in lively personal and intellectual conversations. Wary of any dogmatism, their dialogues explore the Big Bang and the joy of grandchildren, value theory and terrorism, God and art, metaphor and meaning, while assessing the thought of Robert S. Hartman, Alfred North Whitehead, Charles Hartshorne, H. Richard Niebuhr, and others.

The article examines Charles Hartshorne's claim that all events and values are given an "objective immortality" by being preserved in God's perfect memory. God's memory guarantees the meaningfulness of a fixed past, even when the past leaves no present trace on anything else. The article questions the physical basis of such a perfect memory in the structure of the universe, especially as entropy erodes the basis of information. Further, recent theories of memory, such as Gerald Edelman's, hold that memory (...) changes with each act of remembering. The analogy from human memory is therefore faulty. Hartshorne's view is stronger as eschatological metaphor than as sober ontology. (shrink)

In this article I express concern with the ideas of “perfect memory” and “objective immortality” as articulated by Charles Hartshorne. I borrow from the approach of J. J. Valberg, who explores “puzzles” such as the thought that all of our experience is a dream. I also explore what it might be like to live with an intense awareness of God’s presence.

Most works on moral psychology direct our attention to the positive role morality plays for us as individuals, as a society, even as a species. In What's Wrong with Morality?, C. Daniel Batson takes a different approach: he looks at morality as a problem. The problem is not that it is wrong to be moral, but that our morality often fails to produce these intended results. Why? Some experts believe the answer lies in lack of character. Others say we are (...) victims of poor judgment. If we could but discern what is morally right, whether through logical analysis and discourse, through tuned intuition and a keen moral sense, or through feeling and sentiment, we would act accordingly. Implicit in these different views is the assumption that if we grow up properly, if we can think and feel as we should, and if we can keep a firm hand on the tiller through the storms of circumstance, all will be well. We can realize our moral potential. Many of our best writers of fiction are less optimistic. Astute observers of the human condition like Austen, Balzac, Dickens, Dostoyevsky, Eliot, Tolstoy, and Twain suggest our moral psychology is more complex. These writers encourage us to look more closely at our motives, emotions, and values, at what we really care about in the moral domain. In this volume, Batson examines this issue from a social-psychological perspective. Drawing on research suggesting our moral life is fertile ground for rationalization and deception, including self-deception, Batson offers a hard-nosed analysis of morality and its limitations in this expertly written book. (shrink)

A materialist approach to the fictions of Charles Dickens based on a reading-in of the historical background, creative application of Walter Benjamin's methodology, as well as a re-reading the philological core of the minor works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Autor prostredníctvom skúmania literárnych diel Charlesa Dickensa, Williama Makepeaca Thackeryho, George Eliotovej a Thomasa Hardyho vytvára mozaiku viktoriánskej morálky Anglicka 19. storočia. Dospel k záveru, že uvedená doba vôbec nebola taká puritánska, ako si ju zvykneme predstavovať a morálne problémy, ktoré ľudstvo rieši v priebehu svojho vývoja sú vo svojej podstate univerzálne, hoci nie totožné. Líšia sa vo svojich individuálnych podobách, v akých sa s nimi stretávame v jednotlivých obdobiach dejín ľudstva.

En el presente artículo consideramos las aproximaciones de la crítica literaria marxista a la obra de Charles Dickens durante el período 1933-1984. Se pretende dar cuenta del modo en que estos análisis de la obra del novelista inglés articulan los debates acerca de la definición de una Estética marxista. Asimismo, se indagará en la funcionalidad de la metodología de la crítica literaria marxista para elucidar la singularidad de la literatura dickenesiana.

Charles Dickens’s work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the connection between Dickens’s novels, the celebration of “London-ness” and its articulation in popular forms (...) of working-class music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people’s affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy. (shrink)

Gillian Piggott's study of the resonances between the work of Charles Dickens and Walter Benjamin arrives in the wake of an increasing critical interest in Benjamin's life and thought, as an array of books from Graham Gilloch's Myth and Metropolis: Walter Benjamin and the City (1996) to Esther Leslie's biographical Walter Benjamin (2007), and beyond, makes clear. While many critics have addressed Benjamin's importance to discussions of nineteenth-century modernity, Piggott's is the first booklength attempt to compare Benjamin and (...) Dickens. Fler goal is to produce a "creative comparison of the authors' responses to modernity" (4) rather than establish direct lines of influence, though she points out that Benjamin was aware of at least some of Dickens's work, particularly The Old Curiosity Shop and Great Expectations (11), and included fifteen entries about him in the Arcades Project (1927-40). (shrink)

The opening chapter of this work is a comprehensive “Historical Overview of the Hereditary Puzzle.” Goldie Morgentaler's analysis of theories of heredity before Mendel will interest students of biological science. She admits that “resurrecting such theories without contamination from subsequent knowledge often requires an imaginative leap.” Very true. There have been such profound advances in the science of genetics since that time, with the avalanche of discoveries during the past half century, that much of the previous thought now falls in (...) the realm of philosophical fantasy.These early concepts were those to which Charles Dickens was exposed for most of his life. His literary reaction to them is exhaustively analyzed in the subsequent two parts of the book. The first of these is entitled “Heredity and the Individual,” and the second is “The Public Face of Heredity.” The latter includes interesting discussion of class and race, with analyses of the last three novels. These indicate that Dickens's views on heredity changed during his later life, perhaps influenced by Darwin, whose work he had read … and vice versa.The author is to be admired for her detailed knowledge of Dickens's works and his characters. For a reviewer who has been steeped in evidence‐based medicine and science for most of his career, it seems that much of the speculation regarding heredity in the nineteenth century is tenuous and far‐fetched. While Dickens engaged the topic of heredity many times, he appears to have followed the general trend of that era by showing little consistency in his views. This is not surprising in light of the paucity of scientific evidence at that time.While the title implies a study of Dickens and heredity, the substance covers a much wider field, with ventures into ethics, morality, religion, psychology, philosophy, sociology, and more. The appended notes tell of assiduous research and concentration. To the pragmatic reader it sometimes appears that Morgentaler makes observations and draws conclusions that are more profound than Dickens himself might have achieved, or admitted. This is, of course, a common diversion in revisionist studies of well‐known authors and other celebrities.It is inevitable that the perennial question of the relative strength of nature and nurture must have prominence in this study. In his earlier novels Dickens implied support for the notion that goodness and virtue were heritable traits allied to beauty and good physical appearance. Morgentaler returns repeatedly to this question in many aspects. In her final chapter she points out that Dickens's views changed, paradoxically, after The Origin of Species was published, toward the end of his life. He then gave less weight to the influence of heredity. She has, perhaps, missed an opportunity of recording that Dickens noticed hereditary factors in alcoholism and longevity. In the case of Jenny Wren's family, Mr. Cleaver was “like his own father, a weak wretched trembling creature, falling to pieces, never sober” . The Wardle family in Pickwick Papers showed familial longevity in that “only one member hasn't lived to eighty‐five, and he was beheaded by one of the Henrys.”The relationship of some of the discussion to heredity is profound, often remote, even cryptic. To those who are hybrids of a scientific historian and an obsessive Dickens aficionado, this work will be absorbing. Unfortunately for the author and the publisher, such hybrids are probably rare—but I hope not extinct. To the pure scientist this work might be an uphill exercise. The production of the book is faultless. (shrink)

It is sometimes said that we are strangers to ourselves, bearers of internal alterity, as well as to each other. The profounder this strangeness then the greater the difficulty of giving any systematic account of it without paradox: of supposing that our obscurity to ourselves can readily be illuminated. To attempt such an account, in defiance of the paradox, is to risk knowingness: a condition which, appearing to challenge our alterity but in fact often confirming it, holds an ambiguous place (...) in the ?ethics of belief? and has largely escaped philosophical attention. Like alterity, knowingness can only be approached indirectly. Charles Dickens, in David Copperfield, is exemplary in the way he handles these themes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Charles AltieriRobert B. PippinIam very grateful to Charles Altieri for his attentive reading of and thoughtful critique of Philosophy by Other Means: The Arts in Philosophy and Philosophy in the Arts.1 Let me proceed immediately to his main and quite important criticism of the approach defended there. It is this: "My one huge problem with Pippin's perspective is that I cannot accept his insistence (...) that the distinctive form of thinking elicited by works of art is best treated as a mode of knowledge." And he offers a contrasting perspective: "Instead I propose that art should matter to society primarily as the achievement of constructed, specific, individual experiences that embody resonance and authority. Then we can claim that their capacities to engage audiences in particular imaginative situations dramatically stage responses to the historical conditions on which Pippin dwells." This is a densely stated alternative, and I am not sure I fully understand it or why stating it this way thereby shows why art "should matter to society" (art may do this, but why is that important?), but I have much to say by way of clarification before getting to the alternative.First, I meant the title to be as dialectical and so as paradoxical as it sounds. If the means are "other," then we have left philosophy altogether; if the other means are still philosophical, then they can't count as "other." By dialectical I mean simply the avoidance of such dualisms, while not collapsing distinctions through some sort of resolutive reductionism. The idea is to avoid two terrible examples of philosophical approaches to the arts that putatively avoid such dualisms: either provocative or illustrative. The former sees literature especially as embodying issues like moral dilemmas that can be understood to pose, to provoke, philosophical [End Page 249] questions that traditional philosophy should then take up and discuss on its own. (Examples are the way Samuel Beckett's plays, or Albert Camus's The Stranger, are sometimes taught.) The latter, the illustrative, sees literature, again paradigmatically, as providing something like the flesh and blood of abstract philosophical issues, instantiating and illustrating a particular philosophical approach, like moral sentimentalism. (Charles Dickens is often cited.)These are surely examples of what Altieri cites as, and quite rightly rejects, as "appropriating those [aesthetic] experiences for philosophical explanation." I want to reject such "appropriationism" too. In my first chapter, on philosophical criticism of the arts, the idea I defended was that attention to the philosophical value of literature (I will stay with this art form for a while) is attention to literature as a form of reflective thinking itself, in no need of appropriation by philosophy—even though, I claim, there can be a form of philosophical criticism. The point of such criticism is to illuminate that dimension of the work itself, something philosophically significant that the work can do but traditional philosophy cannot.This is couched within several qualifications. Such attentiveness can be valuable, but not for just any work of great literature. Some literature is great without being concerned with any aesthetic modality of "thinking." One can surely admire Samuel Richardson or Anthony Trollope or William Makepeace Thackeray and admit that their value stems from other qualities in the prose, plotting, and psychologically astute portrayal of characters. And for many other reasons, any of the arts can be said to be valuable even if a case can also be made for their bearing on philosophy.And finally, the concept of "philosophical knowledge" is quite complicated. Surely some philosophers, like G. W. F. Hegel, believe in such a thing, but I don't. As Altieri rightly points out, no Absolute exists. What interests me is the relevance of Hegel's claim that a sensible and affective modality of collective self-knowledge can be embodied in many great works. But the collective self-knowledge embodied in fiction is not like discursive or analytic or even speculative knowledge. I see no strict distinction between the object of interrogation and the interrogation itself. That is, the "self" in question (e.g., who have we become?) is what it is by virtue of its own self-interpretation. Self-knowledge in... (shrink)

Public health aims to provide universal safety and progressive opportunities to populations to realise their highest level of health through prevention of disease, its progression or transmission. Screening asymptomatic individuals to detect early unapparent conditions is an important public health intervention strategy. It may be designed to be compulsory or voluntary depending on the epidemiological characteristics of the disease. Integrated screening, including for both syphilis and cancer of the cervix, is a core component of the national reproductive health program in (...) Kenya. Screening for syphilis is compulsory while it is voluntary for cervical cancer. Participants’ perspectives of either form of screening approach provide the necessary contextual information that clarifies mundane community concerns. (shrink)

Discusses some of the most popular misconceptions about science, and their continuing role in the public imagination. Drawing upon the history and philosophy of science it challenges widespread assumptions and misunderstandings, from creationism and climate change to the use of statistics and computer modeling. The result is an engaging introduction to contentious issues in the philosophy of science and a new way of looking at the role of science in society.

Familiarity with Charles Darwin's treatise on evolution is essential to every well-educated individual. One of the most important books ever published--and a continuing source of controversy, a century and a half later--this classic of science is reproduced in a facsimile of the critically acclaimed first edition.

Should engineering ethics be taught? Despite the obvious truism that we all want our students to be moral engineers who practice virtuous professional behavior, I argue, in this article that the question itself obscures several ambiguities that prompt preliminary resolution. Upon clarification of these ambiguities, and an attempt to delineate key issues that make the question a philosophically interesting one, I conclude that engineering ethics not only should not, but cannot, be taught if we understand “teaching engineering ethics” to mean (...) training engineers to be moral individuals (as some advocates seem to have proposed). However, I also conclude that there is a justification to teaching engineering ethics, insofar as we are able to clearly identify the most desirable and efficacious pedagogical approach to the subject area, which I propose to be a case study-based format that utilizes the principle of human cognitive pattern recognition. (shrink)

The present edition provides a detailed and accessible discussion ofhis theories and adds an account of the immediate responses to the book on publication.

David Charles presents a major new study of Aristotle's views on meaning, essence, necessity, and related topics. These interconnected views are central to Aristotle's metaphysics, philosophy of language, and philosophy of science, and are also highly relevant to current philosophical debates. Charles aims to reach a clear understanding of Aristotle's claims and arguments, to assess their truth, and to evaluate their importance to ancient and modern philosophy.

It may be most convenient to respond to Dr Andreae’s points in turn. Unless the claim that a child should determine its own genetic characteristics before it is conceived or born is intended to be flippant, it is logically incoherent. Conception is a decision that only a prospective parent can make. The editorial argument is that denial of choice of sex contributes to preventable maternal mortality and morbidity, particularly in developing countries. ….

I contend that Jews, Christians, and Muslims who seek peace should not be reluctant to acknowledge the existence of their sometimes profound disagreements, or to affirm the truth of their own beliefs and practices. Since this places me at odds with John Hick, I analyze his views, granting the strengths of his critical realism and arguing that his revisionist-pluralist theory of religion has significant limitations for interreligious dialogue. Since the veridical-pluralist alternative I propose facilitates rather than stifles disagreement, I examine (...) three different conceptions of dialogue that acknowledge the importance of disputes among those searching for truth. I also discuss three virtues--honesty, empathy, and humility--whose cultivation would make us less likely to fail in our search for truth and the peace that is its sign and fruit. (shrink)

This article studies the proposal of the twentieth-century anticaste scholar and writer Iyothee Thass of a millennial anticaste communitas (community) in creative opposition to caste immunitas (immunity). It argues that Thass’s casteless community makes an appeal as it withdraws from caste and Brahminism by differentiating itself from enclosure. Thass’s works sought to conceive and construct a community against caste in the vernacular both in the global and local context by way of a highly scholarly as well as creative engagement with (...) Buddhism and the Tamil literary archive. In the colonial and nationalist context of the nineteenth century in the Indian subcontinent, his interpretative imaginaire of the history of India—Indhira Dhesa Sarithiram—was a pedagogy that establishes a belonging to world community and, at the same time, to one’s own vernacular communities. (shrink)