This article explores gender inequities and sexual double standards in teens’ digital image exchange, drawing on a UK qualitative research project on youth ‘sexting’. We develop a critique of ‘postfeminist’ media cultures, suggesting teen ‘sexting’ presents specific age and gender related contradictions: teen girls are called upon to produce particular forms of ‘sexy’ self display, yet face legal repercussions, moral condemnation and ‘slut shaming’ when they do so. We examine the production/circulation of gendered value and sexual morality via teens’ discussions (...) of activities on Facebook and Blackberry. For instance, some boys accumulated ‘ratings’ by possessing and exchanging images of girls’ breasts, which operated as a form of currency and value. Girls, in contrast, largely discussed the taking, sharing or posting of such images as risky, potentially inciting blame and shame around sexual reputation (e.g. being called ‘slut’, ‘slag’ or ‘sket’). The daily negotiations of these new digitally mediated, heterosexualised, classed and raced norms of performing teen feminine and masculine desirability are considered. (shrink)

Damn Great Empires! offers a new perspective on the works of William James by placing his encounter with American imperialism at the center of his philosophical vision. This book reconstructs James's overlooked political thought by treating his anti-imperialist Nachlass -- his speeches, essays, notes, and correspondence on the United States' annexation of the Philippines -- as the key to unlocking the political significance of his celebrated writings on psychology, religion, and philosophy. It shows how James located a craving for authority (...) at the heart of empire as a way of life, a craving he diagnosed and unsettled through his insistence on a modern world without ultimate foundations. Livingston explores the persistence of political questions in James's major works, from his writings on the self in The Principles of Psychology to the method of Pragmatism, the study of faith and conversion in The Varieties of Religious Experience, and the metaphysical inquiries in A Pluralistic Universe. Against the conventional view of James as a thinker who remained silent on questions of politics, this book places him in dialogue with a transatlantic critique of modernity, as well as with champions and critics of American imperialism, from Theodore Roosevelt to W. E. B. Du Bois, in order to excavate James's anarchistic political vision. Bringing the history of political thought into conversation with contemporary debates in political theory, Damn Great Empires! offers a fresh and original reexamination of the political consequences of pragmatism as a public philosophy. (shrink)

Derrida's key concepts or pseudo-concepts of différance, the trace, and the undecidable suggest analogies to some of the most significant results of formal, symbolic logic and metalogic. As early as 1970, Derrida himself pointed out an analogy between his use of ‘undecidable’ and Gödel's incompleteness theorems, which demonstrate the existence, in any sufficiently complex and consistent system, of propositions which cannot be proven or disproven (i.e., decided) within that system itself. More recently, Graham Priest has interpreted différance as an instance (...) of the general metalogical procedure of diagonalisation. In this essay, I consider the extent to which Derrida's key terms and the essential operations of deconstruction can be formalised. I argue that, if formalisation is indeed the technique of writing par excellence, then the formalisation of deconstructive concepts tends to show how the auto-deconstruction of total systems arises from the problematic possibility of writing itself. For instance, since diagonalisation permits the ‘arithmetisation of syntax’ whereby a formal system is able to formulate claims about its own logico-grammatical properties, we can understand its potential to inscribe the undecidable within the systematicity of language as simply one instance of the potential of writing, in figuring itself, to render inscrutable the trace of its own origin. (shrink)

Asserting that all inquiry is either superfluous or futile, Meno’s paradox threatens the very heart of philosophy. In response, philosophers have tended to refute the account of inquiry that the paradox presupposes, i.e., inquiry as a means of acquiring knowledge, and to promote an alternative view. While this strategy can be effective in refuting Meno, it can also take philosophy in some uncomfortable directions. This, I argue, is the case for both Plato and Heidegger, whose accounts of the nature of (...) inquiry lead either into conditions of excessive constraint or excessive openness. (shrink)

In the burgeoning literature on thought experiments (e.g., Cohen 2005; Freese 1995; Gendler 2000; Häggqvist 1996, 2009; Ierodiakonou and Roux 2011; Sorensen 1992), examples are drawn from almost all areas of philosophy. One exception, however, is aesthetics. There are good reasons why this is so: there are very few interesting theory‐ oriented thought experiments in aesthetics, which is unsurprising since there are few well‐developed theories to test in this field (see Chapter 34, Applied Aesthetics). We argue in this chapter, however, (...) that theory‐centered thought experiments are not the only kinds of thought experiments, and that the practical and productive thought experiments that are prevalent in aesthetics are also worthy of some attention. The outline of this chapter is as follows. First we describe in some detail the single most influential theoretical thought experiment in aesthetics. We assess this experiment in epistemic terms, and with this case in view discuss the distinction between theoretical and practical or productive thought experiments. Examples of the latter are introduced so as to illustrate the importance of that distinction. (shrink)

Resumo Na entrevista ficcional que se segue, as ideias de Abbé Jean-Baptiste Du Bos sobre as artes de representação serão aplicadas a aspectos relevantes do cinema. Du Bos argumenta que, normalmente, as obras de ficção cinematográfica são projectadas para dar origem a “paixões artificiais”, que têm a função de fornecer alívio ao tédio, sem as consequências negativas que muitas actividades alternativas têm. Também será considerada a questão, se os filmes têm um significado filosófico. O resultado é uma perspectiva desconhecida, do (...) princípio do século XVIII, em algumas temáticas contemporâneas. Palavras-chave : catarse, cinema apocalíptico, Du Bos, emoção, paixões artificiais, paradoxo do afecto negativoIn the following fictional interview, the Abbé Jean-Baptiste Du Bos’ ideas about the representational arts are applied to relevant aspects of the cinema. Du Bos argues that normally works of cinematic fiction are designed to give rise to ‘artificial passions’ that have the function of providing relief from boredom without the negative consequences that many alternative pursuits would have. Du Bos’ solution to the paradox of negative affect and his position on Aristotle’s doctrine of catharsis are also set forth in the interview. The question of whether films have philosophical significance is also taken up. The upshot is a somewhat unfamiliar early 18th-century perspective on some contemporary issues. Keywords: apocalyptic cinema, artificial passions, catharsis, Du Bos, emotion, paradox of negative affect. (shrink)

This guide accompanies the following article(s): Paisley Livingston, ‘Recent Work on Cinema as Philosophy’, Philosophy Compass 3/4 (2008): 509–603, doi: 10.1111/j.1747‐9991.2008.00158.x Author’s Introduction The idea that films can be philosophical, or in some sense ‘do’ philosophy, has recently found a number of prominent proponents. What is at stake here is generally more than the tepid claim that some documentaries about philosophy and related topics convey philosophically relevant content. Instead, the contention is that cinematic fictions, including popular movies such as (...) The Matrix, make significant contributions to philosophy. Various more specific claims are linked to this basic idea. One, relatively weak, but pedagogically important observation is that some films can be used to provide philosophy students with vivid and thought‐provoking illustrations of philosophical issues. Film screenings stimulate discussion and may motivate renewed engagement with difficult philosophical texts. A stronger contention, however, seeks to link innovative and philosophically valuable thinking to ‘the film itself’ or to the ‘specificity of the cinematic medium’. Such claims raise interesting questions, including questions about the status of the increasingly prevalent philosophically motivated interpretations of particular movies. Who is actually doing the philosophizing in such cases? Is it the audio‐visual display, the film‐maker, or the philosopher who devises an interpretation of the work? What is the role of specifically cinematic devices in the philosophical points made in such interpretations? Is there any tension between the goal of appreciating a film as a work of art and the goal of arguing that a film has significant implications for a position on a problem in philosophy? A course in the general area of cinema as philosophy can focus on issues related to the locus and status of cinematic philosophizing. It can also delve into specific films and film‐makers and philosophically oriented interpretations of specific philosophical topics, such as personal identity. Issues pertaining to interpretation, meaning, and authorship can be usefully investigated in this connection, as can topics in meta‐philosophy related to the very nature of philosophical insight or knowledge. Author Recommends Carroll, Noël and Jinhee Choi, eds. 2008. The Philosophy of Film and Motion Pictures: An Anthology, Part VIII: Film and Knowledge. Malden, MA: Blackwell. 381–405. Inclues a brief introduction by Carroll followed by papers by Bruce Russell, Karen Hanson, and Lester H. Hunt. Kania, Andrew, ed. 2009. Memento. London: Routledge. A number of philosophers elucidate philosophical themes in Memento and discuss more general issues pertaining to cinema’s philosophical significance. Livingston, Paisley. 2009. Cinema, Philosophy, Bergman: On Film as Philosophy. Oxford: Oxford University Press. Part 1 surveys arguments surrounding the cinema as philosophy theme, providing detailed criticisms of some of the bold theses in this area. Part 2 discusses issues related to cinematic authorship and the status of philosophically motivated interpretations of works of fiction, arguing for a partial intentionalist account of a work’s meanings. Part 3 illustrates the intentionalist principles in a discussion of Ingmar Bergman’s philosophical sources, providing insight into themes of motivated irrationality, inauthenticity, and self‐knowledge in some of Bergman’s works. Livingston, Paisley and Carl Plantinga, eds. 2009. The Routledge Companion to Philosophy and Film, Part IV: Film as Philosophy. London: Routledge. 547–659. Offers a succinct survey by Wartenberg as well as entries on Ingmar Bergman, Terrence Malick, and Andrei Tarkovsky, discussions of film and specific philosophical topics (morality, skepticism, personal identity, and practical wisdom), and examples of philosophically motivated interpretations of three specific films: The Five Obstructions, Gattaca, and Memento. Smith, Murray and Thomas E. Wartenberg, eds. 2006. Thinking Through Cinema: Film as Philosophy. Malden, MA: Blackwell. A collection of papers that combines essays devoted to general positions on the cinema as philosophy topic as well as specific interpretations of works in different genres. Turvey, Malcolm. 2008. Doubting Vision: Film and the Revelationist Tradition. Oxford: Oxford University Press. A probing critical investigation into the assumptions underlying influential philosophical claims about the epistemic value of cinema. Wartenberg, Thomas E. 2008. Thinking on Screen: Film as Philosophy. London: Routledge. Ably surveys and responds to arguments against the idea that films can ‘do philosophy’. It defends a conditionalist form of intentionalism in response to the ‘imposition objection’ according to which it is only the commentator who reads philosophical themes ‘into’ the movie; illustrates the favored account of film as philosophy with interpretations of specific cinematic fictions. Online Materials Film‐Philosophy Founded in 1996, this peer‐reviewed online journal is dedicated to philosophically oriented interpretations of films and cinema studies more generally. The e‐mail salon encourages discussion of related topics. Includes essays, festival reports, calls for papers, conference and job information, and book reviews. The archive includes contributions from 1997 to the present. Wartenberg, Thomas E. ‘Philosophy of Film.’The Stanford Encyclopedia of Philosophy; A brief survey of a range of issues in the philosophy of cinema including a few paragraphs on the film as philosophy topic. Philosophical Films A briefly annotated list of philosophical films grouped in rubrics such as ‘The Meaning of Life’ and ‘Environmental Ethics’. Sample Syllabus What follows is a 4‐week ‘start‐up module’ followed by samples of optional units that focus on particular topics and cinematic examples. Introductory Module Week I: Introduction & Overview Livingston, Paisley. ‘Recent Work on Cinema as Philosophy.’Philosophy Compass 3 (2008): 1–14, 20 (DOI: 10.1111/j.1747‐9991.2008.00158.x). Wartenberg, Thomas E. 2009. ‘Film as Philosophy.’The Routledge Companion to Philosophy and Film. Ed. Paisley Livingston and Carl Plantinga. London: Routledge. 549–59. Russell, Bruce. 2008. ‘The Philosophical Limits of Film.’The Philosophy of Film and Motion Pictures: An Anthology. Ed. Noël Carroll and Jinhee Choi. Malden, MA: Blackwell. 387–390. Week II: The Bold Thesis on Film as Philosophy Reading: Livingston, Paisley, ‘Theses on Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter One. 11–38. Screening: October (dir. Sergei Eisenstein 1928). Week III: Debating the Bold Thesis: The Case of October Carroll, Noël. 1998. ‘For God and Country.’Interpreting the Moving Image. Cambridge: Cambridge University Press. 80–91. Smuts, Aaron. 2009. ‘Film as Philosophy: In Defense of a Bold Thesis.’Journal of Aesthetics and Art Criticism, 67:4: 409–20. Week IV: Cinema as Philosophy: Objections and Replies Livingston, Paisley. 2009. ‘Arguing over Cinema as Philosophy.’Cinema, Philosophy, Bergman, Chapter Two. 39–59. Additional Optional Units Depending on the instructor’s areas of interest and expertise, any of the following units could be added (and in some cases, easily expanded into longer segments). The Case of Ingmar Bergman Livingston, Paisley. 2009. ‘Ingmar Bergman.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 560–568. Screening(s): Wild Strawberries (dir. Ingmar Bergman 1957), or The Seventh Seal (dir. Ingmar Bergman 1957), or Persona (dir. Ingmar Bergman 1966). Skepticism Fumerton, Richard. 2009. ‘Skepticism.’ In The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 601–10. Screening: The Matrix (dir. Andy and Larry Wachowski 1999) or Total Recall (dir. Paul Verhoeven 1990). Ethics Kupfer, Joseph. 1999. Visions of Virtue in Popular Film. Boulder, CO: Westview. 35–60. Falzon, Chris. 2009. ‘Why be Moral?’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 591–599. Screening: Groundhog Day (dir. Harold Ramis 1993), or Crimes and Misdemeanors (dir. Woody Allen 1989), or Hollow Man (dir. Paul Verhoeven 2000). Personal Identity Knight, Deborah. 2009. ‘Personal Identity.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 611–619. Hanley, Richard. 2009. ‘Memento and Personal Identity: Are We Getting it Backwards?’Memento. Ed. Andrew Kania. London: Routledge. 107–126. Martin, Raymond. 2009. ‘The Value of Memory: Reflections on Memento.’Memento. Ed. Andrew Kania. London: Routledge. 87–106. Screening: Memento (dir. Christopher Nolan 2000). Freedom and (Genetic) Determinism Sesardic, Neven. 2009. ‘Gattaca.’The Routledge Companion to Philosophy and Film. Eds. Paisley Livingston and Carl Plantinga. London: Routledge. 641–649. Screening: Gattaca (dir. Andrew Niccol 1997). Focus Questions • Is there anything special about the experience of fiction films that is especially well suited to the stimulation of worthwhile philosophical reflection? • Have any novel and philosophically significant ideas found their first expression in a cinematic work? • Under what circumstances can the film medium be used as an expression of a cinematic author’s views? • What sort of background knowledge has to be in place for a film to be interpreted as articulating reasonably precise philosophical theses and arguments? • Does the goal of spelling out a film’s philosophical meaning sometimes conflict with the goal of appreciating its value as a work of art? (shrink)

I admit that when I think of pragmatism’s contributions to political philosophy, I primarily think of Jane Addams and John Dewey. Their contributions to democratic theory and practice have been extremely important in the United States, Europe, and elsewhere, so much so that “pragmatist politics” and “Deweyan democracy” are virtually synonymous. I also think of W.E.B. Du Bois’s criticisms of anti-Black racism and white supremacy in the United States and across the globe. In any case, my first instincts have never (...) been to turn to William James for political inspiration or insight. I’m not alone in thinking and... (shrink)

This paper takes up a series of basic philosophical questions about the nature and existence of fictional characters. We begin with realist approaches that hinge on the thesis that at least some claims about fictional characters can be right or wrong because they refer to something that exists, such as abstract objects. Irrealist approaches deny such realist postulations and hold instead that fictional characters are a figment of the human imagination. A third family of approaches, based on work by Alexius (...) Meinong, seeks an alternative to the realist/irrealist dilemma. Neo-Meinongian theories rely upon a distinction between being and existence, the key contention being that unlike human beings, fictional characters have only the former. Having surveyed relevant work by contemporary metaphysicians and philosophers of language, this paper discusses issues related to the distinction between characters and other aspects of the content of fictions, including the relation between personality theory and literary conceptions of character. (shrink)

This paper examines the reaction of Victorian Presbyterian culture to the theory of evolution in late nineteenth century Scotland. Focusing on the role played by the Free Church theologian, biblical critic and anthropological theorist, William Robertson Smith, it argues that, compared with Smith’s radical scholarship, evolutionary theories did little to disturb the Scottish Calvinist mind-set. After surveying the attitudes to evolution among a range of theological leaders, the paper examines Smith’s fundamentally threatening proposals and the circumstances that led to the (...) public spectacle of his dismissal from his Free Church professorship. It concludes by suggesting that, ironically, even while his fellow churchmen were making their peace with Darwin, Smith was mobilising an evolutionary outlook that challenged Scotland’s conservative religious culture to its very core. (shrink)

George Cotkin's paper is an earnest effort to resolve the supposed conflict between inherited historical circumstances and the enunciation of ethical principles-as if necessity and freedom, past and present, somehow exclude each other; as if "moral history" is something new; as if the injection of an authorial voice or point of view gets us beyond the absurdities of "objectivity." Clearly Cotkin has not been reading historical monographs published since, say, 1935. Is there a field not reanimated by the moral problems (...) of exclusion, oppression, and obligation framed by the civil rights movement, the women's movement, and then the "new social movements" organized around questions of identity and sexuality? (shrink)

Broad in scope and edited by two massive names in geography, this is a critical exploration of how the field has emerged and fared over the course of its modern institutionalization.

Big Ideas for Little Kids includes everything a teacher, a parent, or a college student needs to teach philosophy to elementary school children from picture books. Written in a clear and accessible style, the book explains why it is important to allow young children access to philosophy during primary-school education. Wartenberg also gives advice on how to construct a "learner-centered" classroom, in which children discuss philosophical issues with one another as they respond to open-ended questions by saying whether they agree (...) or disagree with what others have said. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transforming Music EducationCarolyn LivingstonEstelle R. Jorgensen, Transforming Music Education ( Bloomington, IN: Indiana University Press, 2003)Estelle Jorgensen's vision of the transformation of our profession is lofty but not ostentatious, exacting but not rigid. The dream she unveils in her latest book, Transforming Music Education, "challenges music educators to raise their expectations of themselves, their colleagues, their students, and their publics; to look beyond the ordinary; and to aspire (...) to distinction in every facet of its enterprise" (145). A powerfully convincing writer, Jorgensen, author of In Search of Music Education, begins appropriately in her preface by detailing the reasons why music education needs to be transformed. Many of her students and former students at Indiana University are not only satisfied with the status quo in music education, but demonstrate reluctance about even considering the need for change. Others, she has found, long for improvement, having encountered paternalistic administrators, loneliness, fear, and a loss of enjoyment in teaching and in music. Although the author is happy for the former group, she empathizes with the latter. "Gone are the hope, joy, and love of connecting with students or of the art that led them to teaching in the first place," she writes. "In their place I hear the voices of weariness, discouragement, and ennui" (x). [End Page 211]In addition, Jorgensen has observed the anti-intellectualism abroad in education, evident in a variety of symptoms. One of the most troubling is the idolization of scientific research resulting in a loss of interest in philosophical and historical inquiry. She decries the "declining regard for the long and distinguished narratives of education and for the critical insights that would help guard the profession against repeating past mistakes and making ill-conceived plans. Pretentious jargon invoked by educational scientists and theorists often cloaks a paucity of ideas frequently unintelligible to the teachers it is supposed to benefit, and few teachers read it," she asserts (x).Pointing out that we have lost much of our culture other than that promoted in the popular media, Jorgensen reminds us that, after graduation, high school students no longer play their instruments and that some churches now project words to hymns on large screens for parishioners no longer willing or able to read from a hymnal. She is as appalled as the rest of us by restaurant employees' attempts to sing "Happy Birthday" to celebrating patrons, and she notices that even consumers of culture increasingly rely on media opinions for assistance with choices about art exhibits, books, recordings, and performances.The resegregation of schools, the "back to basics" movement, and public apathy about education are other indicators that transformation is needed. If these reasons are not enough, Jorgensen states that ongoing renewal will always be a necessity for education. Since education is often defined as the process by which culture is transmitted, musicians and artists, as purveyors of culture, Jorgensen believes, can create a humane and holistic music education to serve as a model for education in general. "To conceive of music education as enculturation... requires placing culture at the heart of education," she states. "Regarding music along with other arts as important manifestations of human expression suggests that they should be central and essential to a complete education" (9).The purpose of each chapter is clear from its beginning, and the chapters are concisely summarized. The first, "Setting the Stage," discusses several problems of our present society as they affect education. Jorgensen considers possible resistance to transformation and the need for support from organizations like MENC and NASM. She maintains that transformation can only be achieved through the cooperation of many groups and individuals. One of the most difficult problems would seem to be the one that occurs when groups who have previously been oppressed, such as members of female, economic, ethnic, racial, religious, or other minorities, achieve a measure of power and then begin to behave toward others as their oppressors behaved toward them. She cites the work of Paulo Freire who believes that this phenomenon can only be eradicated through emancipatory education.Jorgensen gives homage to past and present music educators who have already recognized the need for change. She makes the point... (shrink)

Introducing Dialogic Pedagogy presents some of the ideas of Russian philosopher Mikhail Bakhtin concerning dialogism in a way that will engage and inspire those studying early childhood education. By translating the growing body of dialogic scholarship into a practical application of teaching and learning with very young children, this book provides readers with alternative ways of examining, engaging and reflecting on practice in the early years to provoke new ways of understanding and enacting pedagogy. This text combines important theoretical ideas (...) with a practical application to support practitioners who are keen to promote creativity and agency through ethical self-other relations. It provides unique insights into the amazing world of the youngest child, and offers enriched understandings of the profound impact of adults in their journey of becoming (or bildung). Key points covered include: Investigating dialogic philosophy and its application to early childhood education, with an emphasis on notions of justice, democracy, ethics and answerability Considering the relationship between dialogism and pedagogical approaches Theorising a range of approaches to relevant early childhood practice, as pedagogy This accessible and readable guide offers sound theoretical principles with practical suggestions for early years' settings. The book is supplemented by an extensive online video resource website that will bring these revolutionary ideas to life.. (shrink)

Book review of The Philosophy of Art. By STEPHEN DAVIES.. Blackwell. 2006.

James Tully’s scholarship has profoundly transformed the study of political thought by reconstructing the practice of political theory as a democratising and diversifying dialogue between scholars and citizens. Across his writings on topics ranging from the historical origins of property, constitutionalism in diverse societies, imperialism and globalisation, and global citizenship in an era of climate crisis, Tully has developed a participatory mode of political theorising and political change called public philosophy. This practice-oriented approach to political thought and its active role (...) in the struggles of citizens has posed fundamental challenges to modern political thought and launched new lines of inquiry in the study of constitutionalism, democracy and citizenship, settler colonialism, comparative political theory, nonviolence, and ecological sustainability. James Tully: To Think and Act Differently collects classic, contemporary, and previously unpublished writings from across Tully’s four decades of scholarship to shed new light on these dialogues of reciprocal elucidation with citizens, scholars, and the history of political thought, and the ways Tully has enlarged our understanding of democracy, diversity, and the task of political theory. (shrink)

Paisley Livingston here addresses contemporary controversies over the role of "theory" within the humanistic disciplines. In the process, he suggests ways in which significant modern texts in the philosophy of science relate to the study of literature. Livingston first surveys prevalent views of theory, and then proposes an alternative: theory, an indispensable element in the study of literature, should be understood as a Cogently argued and informed in its judgments, this book points the way to a fuller understanding (...) of the special contribution that literary knowledge may make within the human sciences. (shrink)

_Seeing the World through Children’s Eyes_ brings an overarching emphasis on ‘seeing’ to early years research and provides an opportunity to see and hear from leading researchers in the field concerning how they work with visual methodologies in their early years research.

Throughout the darkest moments of human history, evildoers have convinced communities to turn on groups that are regarded as in some way other and, by starting to think of them as less than human, persecute or even eliminate them. We can all recognize the unfathomable evils of dehumanization in slavery, the Holocaust, the Rwandan genocide, and the Jim Crow South, but we are not free from its power today. With climate change and political upheaval driving millions of refugees worldwide to (...) leave their homes, we are likely to see more and more of this ugly and persistent phenomenon. What are we to do? Drawing on his deep and wide-ranging knowledge of the history, psychology, and politics of dehumanization, David Livingstone Smith shows us how to recognize it and how to fight back. (shrink)

Standard models of adolescent risk taking posit that the cognitive abilities of adolescents and adults are equivalent, and that increases in risk taking that occur during adolescence are the result of socio emotional differences in impulsivity, sensation seeking, and lack of self-control. Fuzzy-trace theory incorporates these socio emotional differences. However, it predicts that there are also cognitive differences between adolescents and adults, specifically that there are developmental increases in gist-based intuition that reflects understanding. Gist understanding, as opposed to verbatim-based analysis, (...) generally has been hypothesized to have a protective effect on risk taking in adolescence. Gist understanding is also an essential element of informed consent regarding risks in medical decision- making. Evidence thus supports the argument that adolescents’ status as mature minors should be treated as an exception rather than a presumption, because accuracy in verbatim analysis is not mature gist understanding. Use of the exception should be accompanied by medical experts’ input on the bottom-line gist of risks involved in treatment. (shrink)

Defense of a psychological account of what it is for an artwork to be complete.

Less Than Human is a chilling indictment of our nature, and is as timely as it is relevant.

The foundation of the Christian counselling movement -- Christian counselling in the UK -- The aims of Christian counselling -- Integrating psychological and biblical truth -- Sigmund Freud--the founding father of psychotherapy -- The individual psychology of Alfred Adler -- Abraham Maslow--the man with new age tendencies -- Carl Rogers--a man who believed in himself -- Albert Ellis--the aggressive atheist -- The Bible's verdict on psychological 'truth' -- The case against Larry Crabb -- Self-esteem: the secular foundation -- Self-esteem and (...) the Christian counselling movement -- Self-esteem dogma in the light of scripture. (shrink)

The Great Psychotherapy Debate: Models, Methods, and Findings comprehensively reviews the research on psychotherapy to dispute the commonly held view that the benefits of psychotherapy are derived from the specific ingredients contained in a given treatment (medical model). The author reviews the literature related to the absolute efficacy of psychotherapy, the relative efficacy of various treatments, the specificity of ingredients contained in established therapies, effects due to common factors, such as the working alliance, adherence and allegiance to the therapeutic protocol, (...) and effects that are produced by different therapists. In each case, the evidence convincingly corroborates the contextual model and disconfirms the prevailing medical model. (shrink)