In lieu of an abstract, here is a brief excerpt of the content:Breathing:Proustian Therapy1Christopher Prendergast (bio)I begin with a question I would never have imagined myself asking. Is Proust good for you? Might there even be, albeit in carefully controlled doses, a place for him in modern 'health care'? He certainly belongs in the select, if occasionally scary, company of writers whose name, or that of one of their fictional characters, has lent itself to the designation of a psycho-physical (...) condition often with medical characteristics. A short list includes: Stendhal ('Stendhal syndrome,' the condition of obsessional attachment to works of art); Musset (the 'Musset Sign,' manifested as an uncontrollable tremor of the head); Gogol's Plyushkin in Dead Souls ('compulsive hoarding syndrome'); Dickens's Miss Havisham in Great Expectations ('senile squalor syndrome'); Wilde's Lady Windermere ('Lady Windermere syndrome,' associated with pulmonary illness and breathing difficulties).There is no evidence that Proust was directly acquainted with Wilde's play, but there can be little doubt that what came to be called 'Lady Windermere Syndrome' would have spoken to him loud and clear. In an early story called L'Indifférent, Proust penned an encomium to the air we breathe: "A child who from birth has always breathed without paying any attention has no idea how much the air, which swells so sweetly his chest that he doesn't even notice it, is essential to life." A memory of this is doubtless somewhere in the background of the passing mention in Le Côté de Guermantes of "the alpine resort" that teaches him "that the act of breathing, to which we habitually pay no attention, can be a constant source of pleasure." It was almost certainly also in Proust's thoughts when, in the final volume, he penned the famous definition of Paradise Lost as the place and time of "an air we have breathed before, this purer air which the poets have tried in vain to make reign in paradise and which could not provide this profound feeling of renewal if it has not already been breathed, for the only true paradise is a paradise that we have lost."But the early story, like the novel itself, is also haunted by a subtext in which what is precious to life can also be the enemy of life, as, in an access of fever and sudden convulsion, the child feels himself to be suffocating. The story clearly has its origins in Proust's own life, the moment of his first asthma attack as a young boy on a family outing to the Bois de Boulogne. It struck out of the blue with a frightening intensity, and was to pursue [End Page 49] him throughout his life like a fury, proliferating further symptoms such as emphysema and cardiac seizures. As late as 1919, he writes in a letter of an attack that leaves him "gasping like someone half-drowned who is pulled out of water." And it was there again at the moment of Proust's exit from the world, carried off by a bout of pneumonia exacerbated by a pulmonary abscess.There were treatments and consultations galore, the former on a spectrum from inhalations to cauterizing of the nasal tubes, and the latter including a meeting with his father's colleague, Dr. Buissand, who inclined to the view– and increasingly fashionable in medical circles–that the prime cause was neurasthenic. Proust himself hesitated: in a letter he described it as "a bodily illness," but in the Recherche, "asthma crises" are linked to a "mystery" of the "unconscious" and strike out of the blue. The 'mystery' is often, and plausibly, associated with fear of separation from the protective mother. This will be one of the major themes of the novel, and the source of the "sobs that never cease" of which the narrator speaks in the opening volume. But whether physical or psychosomatic, a guaranteed trigger was proximity to tree blossoms (apple especially virulent) and certain flowers–that is, the very things that, for Proust, often something approaching quasi-sacred status, thus illustrating the law that it is what you most love that can kill you.In the novel, however, much of this is distilled into comedy, all terrifying... (shrink)

Moving deftly among literary and visual arts, as well as the modern critical canon, Christopher Prendergast's book explores the meaning and value of representation as both a philosophical challenge (What does it mean to create an image that "stands for" something absent?) and a political issue (Who has the right to represent whom?). _The Triangle of Representation_ raises a range of theoretical, historical, and aesthetic questions, and offers subtle readings of such cultural critics as Raymond Williams, Paul de Man, (...) Edward Said, Walter Benjamin, and Hélène Cixous, in addition to penetrating investigations of visual artists like Gros, Ingres, and Matisse and significant insights into Proust and the onus of translating him. Above all, Prendergast's work is a striking display of how a firm grounding in theory is essential for the exploration of art and literature. (shrink)

This paper examines the concept of medical necessity as it relates to mental health care rationing, arguing that the normal functioning model of medical necessity is insufficient because it fails to cohere with an important aim and function of mental health care, which is to provide support for individuals in abusive or otherwise difficult personal relationships.

In Utopophobia: On the Limits (If Any) of Political Philosophy, David Estlund defends against utopophobia in political philosophy. Estlund claims that it is no defect in a theory of justice if it sets a high standard that has little chance of being achieved by any society. The book does not, however, give similar permission to argue for unrealistically optimistic political proposals. Going beyond Estlund, I consider the possibility that some utopian thinking is warranted not just in the context of formulating (...) a theory of justice, but in the practical context, too. Sometimes theorizers ought to argue for and pursue political proposals that seem unrealistically optimistic. (shrink)

This paper presents the results of an experiment designed to test for nationality bias among members of the Brazilian philosophical community. Faculty members and postgraduate students from philosophy departments at seven Brazilian universities evaluated texts attributed to authors of European and Latin American nationalities. Results showed a clear preference for French nationality over Brazilian. They were inconclusive, however, when contrasting other Latin American nationalities with European nationalities, which likely relates to the academic background of the participants. These overall results support (...) the claim that Brazilian academic philosophers are highly critical of Brazilians who produce theories of their own. The paper calls on philosophers to carefully consider the ways in which Eurocentrism impacts their very ability to reason. (shrink)

With particular reference to nineteenth-century French culture, the contributors explore the role realism has played in the social construction of gender and sexuality. Among their subjects are nineteenth-century physiologies, photographs, caricatures, and Balzac's Comedie humaine; the ethnographic claims of the Goncourts' naturalism and the historical claims of Zola's; and the allure of exotica displayed at new museums and international expositions.

"This volume explores what it means for applied theatre practice to be conducted in an ethical way and examines how this affects the work done with communities and participants. It considers how practitioners can effectively balance aesthetics and ethics in the process of creating performance, particularly with relatively inexperienced and often vulnerable groups of people who are being asked to both tell and stage their stories. While Part One offers an overview of critical debates and the editors' reflections on their (...) own practice, Part Two presents a range of international case studies that explore how the theories and issues are worked out in a variety of diverse practices. The two sections bring together both theoretical and practical ways for theatre-makers to examine the ethics of their applied theatre projects. In Part One, readers are presented with a critical introduction to ethics in applied theatre practice, informed by the thinking of philosophers, scholarly literature on applied theatre, and the editors' own experience, as they consider the question - What is the good? For practitioners working in the field of applied theatre, it provides recommendations for community-based ethical approaches working with principles of voice, agency, collaboration, relationality and reciprocity. Part Two presents a range of international case studies that consider ethics from varying critical perspectives and contexts, including projects in Australia, Nigeria, Sri Lanka, Bangladesh, the United Kingdom, and Canada. Covering work with participants of many ages, from children to seniors, the case studies include indigenous perspectives on a language revitalization project with the Hul'q'umi'num' people of British Columbia; the work of a professional dance theatre company working with addicts and people in recovery; interactive drama used in an educational context in Nigeria, and applied theatre projects in situations of trauma with refugees on the Greek island of Lesbos, among others"--. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Playing Attention":Contemporary Aesthetics and Performing Arts Audience EducationMonica Prendergast (bio)IntroductionThe spectator is an essential element of the kind of play we call aesthetic.1We all watch television. We all go to the movies. Some of us also attend live performances such as plays, concerts, operas, dance recitals, poetry or prose readings, and so on. What are the differences to be found among these experiences? The audience experience of television (...) or film is a shared one, although a more fragmented sharing in the case of television, as it is with live arts events. We are aware that we are not alone in viewing a show, that it is a collective event. But we also realize that our presence does not really matter (aside from boosting ratings or adding to box office profits) and that the performance will continue with or without us. We may exit or enter the room or auditorium at will and never offend the actors, because their presence is "mediatized" and we are not sharing the same time or space with them.2 Attending a live performance is otherwise; our presence is a key element of the event and definitely can and does make a significant difference both for ourselves and for the performers. Although the size and qualities of the event and audience may alter this assertion — a huge stadium rock concert is arguably a more mediatized live performance than a small folk club date — it still holds true that presence is one of the most important qualities of audience in live performance.If we can accept that audience presence is central to performance, then it follows that aesthetic education in the performing arts needs to pay some attention to this phenomenon. In a First World culture that is currently over-saturated with mediatized performance, the future health and vitality of live performance is endangered if educators neglect to address the challenges and processes involved in being an audience for the performing arts in arts education curricula. This essay explores how aesthetic/arts education may [End Page 36] assist young people to grow in awareness and understanding of the essential role that is played by audience in attending performance. In examining the work of four contemporary aesthetic philosophers — Hans-Georg Gadamer, Paul Ricoeur, Paul Thom, and James O. Young — I focus on the areas of spectatorship, attention, interpretation, and evaluation/criticism as important qualities of audience-in-performance. I will then offer a possible curriculum framework for audience education in the performing arts that is performative in form and nature; that is, creative, experiential, emergent, and open question-driven.Both classical and contemporary aesthetic philosophy tends to ignore the performing arts in general and audience-in-performance in particular.3 Plato derides performance as anti-reason and Aristotle salvages it by focusing on the audience's experience of catharsis in tragedy, but this fascinating debate gets lost over time as philosophers get caught up in questions around the definition and nature of art. Examinations of audience in aesthetics tend to assume an audience engaged in the more reflective, contemplative, and individual activity of viewing a work of visual art, reading a poem, or appreciating beauty in general. Discussions of performing arts deal with the text of a play or the score of a musical piece as the primary aesthetic object, with performances of these texts or scores considered somehow secondary, less-definable therefore less worthy of serious philosophic consideration.4 Although a number of aesthetic philosophers have taken up performance and audience issues in more recent years, especially regarding issues around "authentic" performance of music on original instruments, the experience of audience-in-performance remains understudied.5 Others, such as Nick Zangwill, try to negate the audience altogether as being a relatively insignificant part of an aesthetic event and argue that the central focus of aesthetics should be on the artist and the creation of artworks.6Fortunately, there have been a few voices in the field that do attend more closely to performing arts in general and audience in particular, or whose work can be effectively applied to this distinct type of aesthetic event. In the next section I will describe... (shrink)

Philosophy is not a theory but an activity. My interest in aesthetic philosophy and performance theory has offered me the opportunity to engage with the recent work of political philosopher Charles Taylor and performance theorist Jill Dolan.2 As I read these studies, I see interesting and potentially useful contributions to be drawn from their philosophical investigations toward the beginning moments of a new philosophy of drama education that is rooted in the collective creation of socially imagined performative utopias. It is (...) through this process that I arrive at the understanding that the very nature of the dramatic education process embodies and defines socially committed moral values of active and.. (shrink)

The 1982–1983 period marked the end of Argentina’s last dictatorship, one of the most brutal in history, and a difficult time of transition for the country from dictatorship to democracy following defeat in the 1982 Falklands/malvinas War. Using the theoretical framework of critical discourse analysis, which approaches media as constructing rather than mirroring social reality and driven by the interests behind them, this article explores representations of Argentina’s last dictator, Leopoldo Galtieri, within broader discourses on nationalism in three newspapers that (...) supported the regime. The methodological framework of the study is mixed, combining qualitative elements of the discourse-historical approach with corpus tools for an investigation into collocations and metaphors employed. Findings suggest that linguistic and discursive features used in relation to Galtieri change over the course of the year, reflecting shifting discourses on nationalism and Argentina’s period of socio-political crisis. (shrink)

Advances in the understanding of Ras oncoprotein function suggest novel points for anti‐tumor intervention. First, upstream‐acting guanine nucleotide exchange factors and SH2/SH3 domain‐containing adaptor proteins that link Ras with growth factor receptor tyrosine kinases have recently been characterized. Second, work on downstream‐acting Ras effector functions including the Ras GTPase‐activating protein (p120GAP) and the Raf kinase has revealed direct biochemical interactions that are functionally required for oncogenic Ras signalling. We summarize progress in these areas and discuss the potential for novel applications (...) to anti‐cancer chemotherapy. (shrink)

Risk is at the core of criminal recklessness, but its exact constitution comes into focus only in unusual cases. In rethinking criminal law, Larry Alexander and Kimberley Kessler Ferzan say that risk in criminal recklessness ought to be constituted by the subjective belief of the person whose action is being evaluated: the gravity of the harm risked and its probability of resulting is what the person believed it to be, not what it actually was. This means that recklessness can be (...) found in the absence of any “real” risk. This article critiques the authors’ argument for subjective risk in recklessness. They exaggerate the arbitrariness in identifying risk non-subjectively and do not sufficiently acknowledge risk as an inter-subjectively constituted practical concept. Fixing risk subjectively, as advocated by the authors, nonetheless may appear useful for inchoate criminal liability. The article considers and rejects this idea of occasionally subjectivising risk in recklessness. (shrink)

Risk is at the core of criminal recklessness, but its exact constitution comes into focus only in unusual cases. In rethinking criminal law, Larry Alexander and Kimberley Kessler Ferzan say that risk in criminal recklessness ought to be constituted by the subjective belief of the person whose action is being evaluated: the gravity of the harm risked and its probability of resulting is what the person believed it to be, not what it actually was. This means that recklessness can be (...) found in the absence of any “real” risk. This article critiques the authors’ argument for subjective risk in recklessness. They exaggerate the arbitrariness in identifying risk non-subjectively and do not sufficiently acknowledge risk as an inter-subjectively constituted practical concept. Fixing risk subjectively, as advocated by the authors, nonetheless may appear useful for inchoate criminal liability. The article considers and rejects this idea of occasionally subjectivising risk in recklessness. (shrink)

Pregnancy and childbirth have become a dangerous journey for Black women as harrowing stories of death and near‐death experiences resonate within Black communities. While the causes of pregnancy‐related morbidity and mortality are well documented, little is known about how Black Canadian women feel protected from undesirable maternal health outcomes when accessing and receiving pregnancy and intrapartum care. This critical qualitative inquiry sheds light on Black women's perceived sense of safety in accessing pregnancy and intrapartum care. Twenty‐four in‐depth interviews were conducted (...) with Black women who were pregnant or had given birth. Five interconnected themes were generated through thematic analysis: (1) There is a lot of prejudice towards us, (2) We are treated as sick bodies, (3) There is a lot of stereotypes towards us, (4) Our care is lacking in quality, and (5) We feel unsafe in the healthcare system. These themes highlight the perils faced by Black women accessing pregnancy and intrapartum care. The right to safe motherhood and equitable care for Black women should be a national priority in Canada to avert a looming crisis. (shrink)

Fabienne Peter (2020) recently proposed a taxonomy of accounts of the meta-normative grounds of political legitimacy. In this article, I argue that there is an important distinction left out of that taxonomy that complicates the picture. This is the distinction between attitude-independent and attitude-dependent conceptions of normative truth. Through an examination of these conceptions of normative truth (and correlate interpretations of what counts as a normative reason) I argue that what Peter calls a fact-based conception of legitimacy may collapse into (...) a will-based conception. Further, the distinction has important implications for what Peter calls the belief-based conception. Finally, I defend the will-based conception against Peter's arbitrariness objection through an examination of ideally coherent eccentrics. (shrink)

The view of Mandeville as a pioneer of laissez-faire is difficult to reconcile with his repeated insistence that private vices were turned into public benefits by the 'dexterous management of the skilful politician'. Even if references to the skilful politician are regarded as shorthand for a legal and institutional framework, there remains the question of whether such a framework is a spontaneous order or the product of purposeful experiment as Mandeville thought? Mandeville warned about the harmful effects of meddling but (...) his complaint was about the actions of fashionable do-gooders rather than government. He understood that the voluntariness of a transaction could be regarded as a defence against complaints of unfairness but he was quick to point out the limitations of voluntariness especially in the market for labour. Mandeville's objective was to teach people what they are not what they should be. He pointed to the strengths of the emerging market system but was not afraid to expose its faults. (shrink)

What are counterfactuals and what is their point? In many cases, none at all. It may be true that if kangaroos didn't have tails, they would fall over, but they do have tails and if they didn't they wouldn't be kangaroos (or would they?). This is the sort of thing that can give counterfactuals a bad name, as inhabitants of a La La Land of the mind. On the other hand, counterfactuals do useful service across a broad range of disciplines (...) in both the sciences and the humanities, including philosophy, history, cosmology, biology, cognitive psychology, jurisprudence, economics, art history, literary theory. They are also richly, albeit sometimes treacherously, present in the everyday human realm of how our lives are both imagined and lived: in the 'crossroads' scenario of decision-making, the place of regret in retrospective assessments of paths taken and not taken, and, at the outer limit, as the wish not to have been born. Christopher Prendergast take us on a dizzying exploratory journey through some of these intellectual and human landscapes, mobilizing a wide range of reference from antiquity to the present, and sustained by the belief that, whether as help or hindrance, and with many variations across cultures, counterfactual thinking and imagining are fundamental to what it is to be human. (shrink)