Firearm violence in the United States produces over 36,000 deaths and 74,000 sustained firearm-related injuries yearly. The paper describes the burden of firearm violence with emphasis on the disproportionate burden on children, racial/ethnic minorities, women and the healthcare system. Second, this paper identifies factors that could mitigate the burden of firearm violence by applying a blend of key ethical theories to support population level interventions and recommendations that may restrict individual rights. Such recommendations can further support targeted research to inform (...) and implement interventions, policies and laws related to firearm access and use, in order to significantly reduce the burden of firearm violence on individuals, health care systems, vulnerable populations and society-at-large. By incorporating a blended public health ethics to address firearm violence, we propose a balance between societal obligations and individual rights and privileges. (shrink)

This is a critical look at the question of design from a feminist theological perspective. The author analyzes James Moore's 1995 Zygon article, “Cosmology and Theology: The Reemergence of Patriarchy.” Then she looks at the relationship between science and religion from a feminist perspective, focusing on the kyriarchal nature of theology itself in light of the myriad power issues at hand. Finally, she suggests that, instead of pondering the notion of design, scientists and theologians might more fruitfully look for (...) new ground for dialogue since feminist scholars are asking very different questions, not just answering questions differently. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wonder, Imagination, and the Matter of Theatre in The TempestMary MooreAriel occurs. Recounting his performance of "the tempest" in Act I, scene 1 of The Tempest, he presents himself as being and action, fracturing grammar, spatial and temporal logic in ways that amaze and confound:I boarded the King's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement. Sometime I'd divide, And (...) burn in many places; on the topmast, The yards, and bowsprit would I flame distinctly, Then meet and join...(1.2.195–201) 1"I flamed" means that Ariel emits or is flames, which in the normal order of things would consume him. His very narration, however, proves his survival, evoking wonder through the utterance itself. Forceful and compacted syntax, a recognized source of wonder in Classical and Renaissance accounts of style (Biester, pp. 14; 35–40), magnifies this effect. 2 Shakespeare's transitive use of the usually intransitive verb flame reflects a not uncommon practice, as E. A. Abbott shows; 3 but this syntactic device also reflects The Tempest's own logic. Ariel crosses boundaries between [End Page 496] deed and being, verb and noun, subject and object, matter and spirit: he both is and does flames. What could be more jarring to syntax and semantics than a singular subject whose utterance claims that he can flame, divide, meet and join? Just as "a" fire consists of many flames yet functions grammatically as a singular substance in English, just as the Christian Trinity is both singular and multiple, Ariel burns in many places at once. Meanwhile, this extraordinary language seems belied by the actor's very embodiment. Ariel cannot have done what he claims; yet the prior scene has represented the very storm in which Ariel flamed. In that sense, the actor's embodiment represents what we imagine to be matter's intractability, while Ariel's claims, coupled with the storm we have just witnessed, reveal matter's fluidity and permeability to imagination. Fluidity and intractability co-exist, another source of wonder. Sound mimics these paradoxes: the assonance and consonance in flame and amazement create a near rhyme that echoes the near identity of fire and human amazement. If, as Gurr and Ichikawa observe, a Renaissance audience expected to hear more than see a play, this echo calls attention to Ariel's marvelous powers. 4 Lest the noises and pleasures of the Renaissance theatre, which recent scholarship deems to be considerable, distract audience members from this bit of language, similar moments reinforce Ariel's play in and with language and matter throughout the play. Marvelous poetic language is of a piece with a "fever" that is of "the mind," with music that "creeps," actors who vanish, new found goddesses who speak the discoverers' own language.Amazement provides our cue: it and its cognates name the appropriate response to Ariel, his language, and to The Tempest itself. Attention to Ariel's poetic language reveals that it, like the plot, conforms to the marvels of the play and to the period's well documented love for marvels in several ways. Wonder, an aesthetic "'object of desire'" in itself, and a response to the inexplicable in classical and early modern views, may be evoked by the unexpected in style (and through other strategies that the era's handbooks taught). 5 The clause "I flamed amazement" epitomizes the unexpected in syntax as well as differing from one of the few sources found for The Tempest, William Strachey's 1610 letter, which describes just such a storm. 6 While St. Elmo's fire itself may elicit wonder, Shakespeare's syntax and diction reinforce that marvel. And no wonder: rhetoric and theatre alike depend upon audience attention, and wonders naturally evoke it. Jarring language also harmonizes with The Tempest's structural marvels—loose ends, disrupted actions, unforeseen futures—issues several critics explore. 7 [End Page 497]The wonders of The Tempest, however, also involve imagination—in early modern psychology, the human faculty that permits perception of the world and invention of images. 8 Wonder responds to how the perceived differs from the expected, how the imagined supplants the usual, how an... (shrink)

In this chapter, Mary Collins Swabey critiques G. E. Moore's discussion of sense data.

It is just over eighty years since G. E. Moore published Principia Ethica , thereby changing English-speaking moral philosophy for the rest of the century. Just why and how was that book so important?

1. Conceptions of the nature of value are of two main types: they are either objective, or realistic, or else subjective, that is, psychological. The immediately following pages are devoted to the critical consideration of the first of these, the realistic conception of value as “an indefinable quality which attaches to things independently of consciousness.” According to this view, things have value as they have form or colour or volume. A rose, for example, has the qualities of redness, of fragrance, (...) and also of beauty; a book has the qualities of rectangularity, of twelve-ounce weight, and also of truth; a negro has the qualities of erectness, of brownness, and also of moral goodness or badness. Beauty, truth, and moral goodness, grouped together as ‘values,’ or ‘worths,’ or ‘goods,’ are from this point of view as indefinable and ‘absolute’ as the primary and secondary qualities: indeed, they are together known as “tertiary qualities.’ In G. E. Moore's words, a value or “ ‘good’ is a simple notion, just as ‘yellow’ is a simple notion”; and “just as you cannot, by any manner of means, explain to anyone who does not already know it what yellow is, so you cannot explain what good is.”. (shrink)

In A Passage to India, E.M. Forster examines the duality of three main characters, Mrs. Moore, Aziz, and Fielding and thereby demonstrates their relative stability in the primordial chaos of India. Unlike Adela who falls apart after her experience in the cave, these characters draw on the power of the imagination in a grappling struggle to remain morally centered when facing the darkness within. Forster suggests that turning to the East (where the Marabar caves represent darkness and destabilization) contrasts (...) with returning to the West (where imaginative form represents order and light). In Mrs. Moore, Aziz, and Fielding, Forster examines the manner in which one might embrace a centered life committed to empathy for others by way of facing one’s own otherness. As these characters immerse themselves in India’s primordial formlessness and acknowledge their shadows, they embrace imaginative form rather than fall apart, and in doing so they serve as models of mythmakers and relative stability. (shrink)

1. Conceptions of the nature of value are of two main types: they are either objective, or realistic, or else subjective, that is, psychological. The immediately following pages are devoted to the critical consideration of the first of these, the realistic conception of value as “an indefinable quality which attaches to things independently of consciousness.” According to this view, things have value as they have form or colour or volume. A rose, for example, has the qualities of redness, of fragrance, (...) and also of beauty; a book has the qualities of rectangularity, of twelve-ounce weight, and also of truth; a negro has the qualities of erectness, of brownness, and also of moral goodness or badness. Beauty, truth, and moral goodness, grouped together as ‘values,’ or ‘worths,’ or ‘goods,’ are from this point of view as indefinable and ‘absolute’ as the primary and secondary qualities: indeed, they are together known as “tertiary qualities.’ In G. E. Moore's words, a value or “ ‘good’ is a simple notion, just as ‘yellow’ is a simple notion”; and “just as you cannot, by any manner of means, explain to anyone who does not already know it what yellow is, so you cannot explain what good is.”. (shrink)

G. E. Moore was a central figure in twentieth-century philosophy. Along with Russell and Wittgenstein, he pioneered analytic philosophy, and his Principia Ethica shaped the contours of twentieth-century ethics. Indeed, until the publication of Rawls's A Theory of Justice, no single book in moral philosophy was to equal Principia's influence. Unfortunately, however, Principia Ethica has so dominated critical discussions of Moore's work that even experts on his moral philosophy have tended to ignore his Ethics, which he published eight (...) years later. But Ethics is Moore's only other book on moral philosophy, and one of only a handful of post-Principia publications dealing with ethics. Its detailed discussions of utilitarianism, free will, and the objectivity of moral judgements find no real counterpart in Principia while its account of right and wrong and of the nature of intrinsic value deepen our understanding of his moral philosophy. The republication of Ethics thus rounds out our understanding of Moore's ethical thought. But the book's value goes beyond its historical or scholarly interest. A short but philosophically rich text, Ethics stands independent of Principia and repays careful study in its own right. By raising a number of fundamental questions in ethics, questions that remain live today, by proffering clear, credible, and often innovative answers to them, and by doing so with a philosophical skill that is still impressive, Moore's short book is a minor classic. Almost a century after its original publication, it still amply rewards those who read it.This new edition of Moore's Ethics includes his essay 'The Nature of Moral Philosophy' as well as editorial notes, an introduction, and a guide to further reading. (shrink)

Background:Clinical investigation is a growing field employing increasing numbers of nurses. This has created a new specialty practice defined by aspects unique to nursing in a clinical research context: the objectives, setting, and nature of the nurse–participant relationship. The clinical research nurse role may give rise to feelings of ethical conflict between aspects of protocol implementation and the duty of patient advocacy, a primary nursing responsibility. Little is known about whether research nurses experience unique ethical challenges distinct from those experienced (...) by nurses in traditional patient-care settings.Research objectives:The purpose of the study was to describe the nature of ethical challenges experienced by clinical research nurses within the context of their practice.Research design:The study utilized a qualitative descriptive design with individual interviews.Participants and research context:Participating nurses self-identified as having experienced ethical challenges during screening. The majority were Caucasian, female, and worked in outpatient settings. Approximately 50% had > 10 years of research experience.Ethical considerations:The human subjects review board approved the study. Written informed consent was obtained.Findings:Predominant themes were revealed: the inability to provide a probable good, or/do no harm, and dual obligations. The following patterns and subthemes emerged: conflicted allegiances between protocol implementation, needs of the participant, desire to advance science, and tension between the nurse–patient therapeutic relationship versus the research relationship.Discussion:Participants described ethical challenges specific to the research role. The issues are central to the nurse–participant relationship, patient advocacy, the nurse’s role in implementing protocols, and/or advancing science.Conclusion:Ethical challenges related to the specialized role of clinical research nurses were identified. More research is warranted to fully understand their nature and frequency and to identify support systems for resolution. (shrink)

One of the core problems with engineering ethics education is perceptual. Although ethics is meant to be a central component of today’s engineering curriculum, it is often perceived as a marginal requirement that must be fulfilled. In addition, there is a mismatch between faculty and student perceptions of ethics. While faculty aim to communicate the nuances and complexity of engineering ethics, students perceive ethics as laws, rules, and codes that must be memorized. This paper provides some historical context to better (...) understand these perceptual differences, and suggests that curriculum constraints are important contributing factors. Drawing on the growing scholarship of student engagement approaches to pedagogy, the paper explores how students can be empowered to effect change in the broader engineering curriculum through engineering ethics. The paper describes a student engagement approach to pedagogy that includes students as active participants in curriculum design—a role that enables them to critically reflect about why ethics is a requirement. Including students in the process of curriculum design leads students to reframe ethics as an integrative tool with the capacity to bring together different engineering departments and build bridges to non-engineering fields. This paper argues that students can and should play an active and important role in relocating ethics from the periphery to the core of the engineering curriculum. (shrink)

Emotions are often portrayed as subjective judgments that pose a threat to rationality and morality, but there is a growing literature across many disciplines that emphasizes the centrality of emotion to moral reasoning. For engineers, however, being rational usually means sequestering emotions that might bias analyses—good reasoning is tied to quantitative data, math, and science. This paper brings a new pedagogical perspective that strengthens the case for incorporating emotions into engineering ethics. Building on the widely established success of active and (...) collaborative learning environments, in particular the problem-based learning philosophy and methodology, the paper articulates new strategies for incorporating emotion into engineering ethics education. An ethics education pilot study is analyzed to explore how PBL can engage students’ emotions. Evidence suggests that PBL empowers students to cultivate value for engineering ethics and social responsibility, and in doing so, redefine the societal role of the engineer. Taking students’ emotions seriously in engineering ethics offers an effective strategy to meaningfully engage students in ethical learning. (shrink)

G. E. Moore was a central figure in twentieth-century philosophy. Along with Russell and Wittgenstein, he pioneered analytic philosophy, and his Principia Ethica shaped the contours of twentieth-century ethics. Indeed, until the publication of Rawls's A Theory of Justice, no single book in moral philosophy was to equal Principia's influence. Unfortunately, however, Principia Ethica has so dominated critical discussions of Moore's work that even experts on his moral philosophy have tended to ignore his Ethics, which he published eight (...) years later. But Ethics is Moore's only other book on moral philosophy, and one of only a handful of post-Principia publications dealing with ethics. Its detailed discussions of utilitarianism, free will, and the objectivity of moral judgements find no real counterpart in Principia while its account of right and wrong and of the nature of intrinsic value deepen our understanding of his moral philosophy. The republication of Ethics thus rounds out our understanding of Moore's ethical thought. But the book's value goes beyond its historical or scholarly interest. A short but philosophically rich text, Ethics stands independent of Principia and repays careful study in its own right. By raising a number of fundamental questions in ethics, questions that remain live today, by proffering clear, credible, and often innovative answers to them, and by doing so with a philosophical skill that is still impressive, Moore's short book is a minor classic. Almost a century after its original publication, it still amply rewards those who read it.This new edition of Moore's Ethics includes his essay 'The Nature of Moral Philosophy' as well as editorial notes, an introduction, and a guide to further reading. (shrink)

Little is known about how certain patient characteristics can affect the timing of an ethics consultation, which has been hypothesized to affect patient length of stay. This study assessed how specific patient characteristics affect the timing of an ethics consultation, namely, age (over 65 years), race, Medicaid status, the presence of a living will, the presence of a health care proxy, and the absence of decisional capacity. Moving beyond the typical case-series evaluation of an ethics consultation service, this study used (...) an innovative approach to model how predisposing, enabling, and need factors affect health behavior and subsequently affect health outcomes for patients who received an ethics consultation at a Catholic health care system in Oklahoma. (shrink)

Use of humanities content in American medical education has been debated for well over 60 years. While many respected scholars and medical educators have purported the value of humanities content in medical training, its inclusion remains unstandardized, and the undergraduate medical curriculum continues to be focused on scientific and technical content. Cited barriers to the integration of humanities include time and space in an already overburdened curriculum, and a lack of consensus on the exact content, pedagogy and instruction. Edmund Pellegrino, (...) physician and scholar of the latter twentieth century, spent much of his professional life promoting the value and importance of the humanities in medical education, seeking the best way to incorporate and teach this content in clinically relevant ways. His efforts included the founding of multiple enterprises starting in the 1960s and 1970s to promote human values in medical education, including the Society for Health and Human Values and its Institute on Human Values in Medicine. Regardless of his efforts and those of many others into the current century, the medical humanities remains a curricular orphan, unable to find a lasting home in medical education and training. (shrink)

Human Nature offers a wide-ranging and holistic view of human nature from all perspectives: scientific, historical, and sociological. Mary Clark takes the most recent data from a dozen or more fields, and works it together with clarifying anecdotes and thought-provoking images to challenge conventional Western beliefs with hopeful new insights. Balancing the theories of cutting-edge neuroscience with the insights of primitive mythologies, Mary Clark provides down-to-earth suggestions for peacefully resolving global problems. Human Nature builds up a coherent, and (...) above all positive, picture of who we really are. (shrink)

In the _World Library of Educationalists_, international experts themselves compile career-long collections of what they judge to be their finest pieces – extracts from books, key articles, salient research findings, major theoretical and practical contributions – so the world can read them in a single manageable volume, allowing readers to follow the themes of their work and see how it contributes to the development of the field. Mary James has researched and written on a range of educational subjects which (...) encompass curriculum, pedagogy and assessment in schools, and implications for teachers´ professional development, school leadership and policy frameworks. She has written many books and journals on assessment, particularly assessment for learning and is an expert on teacher learning, curriculum, leadership for learning and educational policy. Starting with a specially written introduction in which Mary gives an overview of her career and contextualises her selection, the chapters are divided into three parts: Educational Assessment and Learning Educational Evaluation and Curriculum Development Educational Research and the Improvement of Practice Through this book, readers can follow the different strands that Mary James has researched and written about over the last three decades, and clearly see her important contribution to the field of education. (shrink)