Cardiovascular disease (CVD) and sustained high blood glucose as prediabetes are an established comorbidity. People's experience in reconciling these long‐term conditions requires deeper appreciation if nurses are to more effectively support person‐centred care for people who have them. Our analysis explores the initial experience of people admitted to hospital with CVD who then find they also have sustained high blood glucose. Our methodology is informed by the philosophy of Gadamer and applies interpretive description to develop an interpretation of participant experiences. (...) The major theme emerging from participant interviews was the ‘invisible disequilibrium’ characterised by three subthemes: ‘losing equilibrium’, ‘becoming embattled’ and ‘evolving illness’. This study examines CVD and prediabetes in conjunction with the Gadamerian notion of the ‘whole’, as being in a social and emotional world in which illness is also a component part. We explore how participants lived within an ‘invisible disequilibrium’, with prediabetes frequently remaining unnoticed, while CVD was manifest. To identify multiple conditions and support effective intervention to manage them as part of person‐centric care, nursing practice should explore the ‘whole’ of the person's experience, value people’s knowledge as potential indicators of complex illness, thereby reducing the risk of accelerating complex illness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 44.4 (2006) 599-622 MuseSearchJournalsThis JournalContents[Access article in PDF]The Purposiveness of Form: A Reading of Kant's Aesthetic FormalismRachel ZuckertIn the "critique of aesthetic judgment," Kant claims that when we find an object beautiful, we are appreciating its "purposive form." Many of Kant's readers have found this claim one of his least interesting and most easily criticized claims about aesthetic experience. Detractors hold up his (...) aesthetics as a paradigmatic case of narrow formalism; 1 and even many admirers of Kant's aesthetics take Kant's claims about form to be problematic, but argue that they are inessential to his aesthetics (which includes more interesting, defensible claims). 2 Though these critics come to differing evaluations of Kant's aesthetics as a whole, they agree on two points. First, interpretively: that when Kant claims that it is the "form" of an object we find beautiful, he means that in aesthetic appreciation, we find certain spatial and/or temporal properties (such as proportion, line, shape) aesthetically pleasing—and that such properties are exclusively responsible for an object's beauty. Second, evaluatively: that Kant is wrong, at least about this.In this paper, I shall propose that we need not endorse either claim. I shall argue that one may interpret Kant's formalism as a claim that in aesthetic experience 3 [End Page 599] we appreciate the object as an individual, as comprising all (or indeterminately many) of its sensible properties as inextricably interrelated or unified to make the object what it is; in other words, we appreciate what has been called an object's 'individual form.' This reading, I shall suggest, allows us not only to understand Kant's aesthetics as intimately connected to his project in the Critique of Judgment (hereafter, CJ) as a whole, but also to see Kant's aesthetics, in general, as providing a richer, more plausible description of our aesthetic engagement with an object, or as less narrowly subjectivist than is frequently believed.I shall proceed by presenting Kant's claims about form, and the standard criticisms thereof, and then turn to defend this alternative reading. Before I do so, however, I wish to make some preliminary remarks about aesthetic formalism in general. Contemporary discussion of formalism often takes aesthetic formalism to be instantiated by the views of the twentieth-century art critics, Clive Bell and Roger Fry, 4 and Kant's formalism is often implicitly equated with theirs (or the kind of position attributed to them). I wish to resist that equation in this essay; to that end, I start here by giving a wider sense of what formalism might be, drawing especially on historical positions that were available to Kant. 5Broadly speaking, "formalism" is the view that, in aesthetic appreciation of an object (usually a work of art), we do and ought to pay attention not to the object's representational content, emotional expressiveness, historical, institutional, or social context (whether conditions for the production of the object or its effects), but only to its form. Formalism is characterized in some sense, then, by what it excludes, viz. considerations taken to be external to the object. But it does specify positively (if vaguely) that the form of an object is what makes it beautiful. 6'Form,' however, can mean a number of different things, all of which (in some sense) are the design or arrangement of an object's parts, often of its sensible properties. I wish to draw attention to three somewhat distinct ways in which one may understand such form or arrangement of properties, which I shall call 'property-formalism,' 'kind-formalism,' and 'whole-formalism.' Property-formalism is the view that the form of an object can be described in terms of a set of specific spatial or temporal properties that characterize the relations that hold among different parts of the object, and that these properties are responsible for the beauty of the object. Hogarth's view that the serpentine line is the most beautiful line, responsible... (shrink)

Topics in Cognitive Science, Volume 14, Issue 2, Page 295-310, April 2022.

Volume 51, Issue 1, January 2020, Page 89-91.

Journal of Religious Ethics, Volume 49, Issue 4, Page 657-680, December 2021.

Here in the Achilleid Statius catalogues the contributions of Greek towns to Agamemnon's expedition against Troy. Every item of equipment is appropriate to its origin. There is one puzzle, however: why is it that murorum tormenta are the peculiar contribution of Pylos and Messene? O. A. W. Dilke suggests that the proximity of classical Messene to Mt Ithome would have reminded Statius of the siege of that place by the Spartans in 464–59 b.c., when they were aided by the Athenians, (...) experts in siege warfare. This solution is undoubtedly ingenious but, based as it is upon association, it places this last entry in a quite different category from the previous entries: all the preceding items have been very definite products of their places of origin. K. von Barth , while noting the not unparalleled anachronism, attempts to account in another way for the siege-engines: ‘quia ibi silvae crassissimas arbores habent’. But there is no evidence to support this: Messenia features neither in the pages of Theophrastus or Pliny as a source of quality timber, nor in the poets as an area which is characterised by the stoutness of its trees. These theories pay insufficient attention to the verb tendunt, the vox propria for exerting a strain on rope, making it taut. (shrink)

These two lectures by Jacques Derrida, "Foreigner Question" and "Step of Hospitality/No Hospitality," derive from a series of seminars on "hospitality" conducted by Derrida in Paris, January 1996. His seminars, in France and in America, have become something of an institution over the years, the place where he presents the ongoing evolution of his thought in a remarkable combination of thoroughly mapped-out positions, sketches of new material, and exchanges with students and interlocutors. As has become a pattern in Derrida's recent (...) work, the form of this presentation is a self-conscious enactment of its content. The book consists of two texts on facing pages. "Invitation" by Anne Dufourmantelle appears on the left, clarifying and inflecting Derrida's "response" on the right. The interaction between them not only enacts the "hospitality" under discussion, but preserves something of the rhythms of teaching. The volume also characteristically combines careful readings of canonical texts and philosophical topics with attention to the most salient events in the contemporary world, using "hospitality" as a means of rethinking a range of political and ethical situations. "Hospitality" is viewed as a question of what arrives at the borders, in the initial surprise of contact with an other, a stranger, a foreigner. For example, Antigone is revisited in light of the question of impossible mourning; _Oedipus at Colonus_ is read via concerns that also apply to teletechnology; the trial of Socrates is brought into conjunction with the televised funeral of François Mitterrand. (shrink)

Volume 20, Issue 10, October 2020, Page 67-69.

What is right with this “comic” of Euripides's timeless and irreplaceable drama, The Trojan Women, is what was always right about a play that is relentlessly relevant. Carson's translation, spare and clear, distills the language of the original but keeps what is important, including some mouth-puckeringly wry lines. There is barbed wit and heartbreaking lullaby, sometimes coinciding on one page. Thus, the chorus comments, “Troy, you made a bad deal: / ten thousand men for a single coracle of cunt (...) appeal.” In the middle of the same page, the Greek herald Talthybius addresses Hector and Andromache's infant son Astyanax, whom he has come to carry off so that the baby can be thrown from the battlements: “Come along, little mushroom, / little rootlet, little sip, little milk fly, little asterisk, little welkin, / little silhouette, little sugar bubble—/ let go of your mother. / She's broken.” Then lower down on the same page: “It's time for your infinite leap / as decreed by the vote of men. / Take him. / The man to transact things like this / is one who doesn't know pity.”What is wrong with this new rendering is Bruno's awkward, amateurish drawings. Yes, the chorus are all animals, as are all the main characters except mad Cassandra (a partial exception might be made for Menelaus, who is some kind of machine); but Bruno is no Art Spiegelman, and this is no Maus. Spiegelman's cats, pigs, and mice make perfect sense and are elegantly and clearly depicted; they add resonance to the story without raising further questions. In this Trojan Women, it makes sense that Hecuba is an old bitch or Helen a svelte fox in high heels. Poseidon, a wave: okay. But Talthybius, a colossal raven? Athena, “a big pair of overalls, carrying an owl mask in one hand”? Andromache, “a poplar tree with trunk split and roots dragging out the back of the cart”? The infant Astyanax whom Andromache cradles in one Ent-like arm looks more like a cocoon or a hornet's nest or a hypertrophied oak gall than anything else. Menelaus, when he arrives, is “some sort of gear box, clutch or coupling mechanism, once sleek, not this year's model.” These surreal leaps might well work on the stage or screen, but the need to explain them in the text shows how uncomfortably they fit into the story. Carson's explanations, of course, constitute her only significant departures from Euripides.We do not need Bruno's drawings; Carson's pared-down text might work quite well on its own. But even grant the hypothetical that these drawings are an organic and crucial part of this version's vision, then the drawings should not need to be explained. Less would be more. What this version of the classic drama gains in succinctness it loses in tonal clarity—having said which, I would still like to try it out on my students, who might help me to change my mind. Does this retelling of the story remain heartrending and cruel, suffused with irony, sharpened by flashes of wit? Yes. Was it worth the experiment of turning the tragedy into a comic? Sure. Is this uneasy mix of verbal mastery and wobbly draftsmanship the ultimate version of The Trojan Women? Nope. (shrink)

Educational Theory, Volume 72, Issue 1, Page 31-46, February 2022.

Hastings Center Report, Volume 52, Issue 5, Page 44-45, September–October 2022.

Philosophy and Phenomenological Research, Volume 103, Issue 3, Page 547-566, November 2021.

In lieu of an abstract, here is a brief excerpt of the content:Antigone and AbjectionThe Ethics and Politics of RestlessnessRachel JonesOne can trace, throughout Sarah Kofman’s body of work, a thread of continuity, a question about the unsayable, an enigma, a caesura, a riddle, a disruption, an aporia, the impossibility of saying that which nonetheless, according to an ethical exigency, demands to be said.—Tina Chanter, “Playing with Fire: Kofman and Freud on Being Feminine, Jewish and Homosexual”These are the opening lines (...) of Tina Chanter’s essay on Sarah Kofman. To some extent, they could also be applied to Chanter’s own considerable body of work. Here, too, there is a thread of continuity that concerns “a question of the unsayable” and the ethical exigency of attending to that question. At the same time, these lines do not quite apply to Chanter’s own work, in ways that illuminate the distinctiveness of her approach and her contribution to contemporary philosophical thinking. For if her work foregrounds [End Page 129] the necessity with which representation depends on a constitutive relation to the unrepresentable, it also insists on the contingency of what and who are made unrepresentable, on “the unstable content of excluded yet constitutive others” (Chanter 2011, 58; hereafter, WA). If the question of the unsayable concerns the impossibility of saying that which nonetheless demands to be said, Chanter’s work shows that what it is impossible to say is always made so by a particular order of representation. Thus, part of what demands to be said is this: That what is unethical is not simply failing to attend to the unsayable, but failing to attend to the ways in which that which is unsayable and unrepresentable within a particular order of representation becomes conflated with the unsayable and unrepresentable as such, and thus condemned, like Antigone, to a living death.Chanter’s work parses the unrepresentable, while carefully avoiding two potential risks of critiquing the logic of representation. The first such risk is that of homogenizing all that is “other” to the subject within a single figure of excess: the unrepresentable or the unsayable. The second is of exposing the logic that identifies one specific mode of being as other—say, for example, the feminine—while not only failing to interrogate the production of other “others”—say, racialized others—but remaining implicitly dependent on their continued exclusion. In response, Chanter’s work patiently exposes the ways in which an exclusionary logic tends to silently reinstate itself in the very theories that seek to contest the logic of exclusion. This is not because we have not yet found the right solution, the ideal counter-theory to avoid once and for all the oppressive effects of the logic of the same. Rather, the logic of exclusion reasserts itself precisely to the extent that we continue to invest in finding a conceptual or theoretical resting place, rather than being willing to remain in the double bind of attesting to hitherto oppressed and marginalized differences, while asking which differences are occluded, silenced, or marginalized by our own attestations, by the contingent but unavoidably specific forms that such attestations take. Rather than appealing to either the unrepresentable as such, or to a privileged register of difference, Chanter asks us instead to take up the restless project of exposing the different logics of othering on which different subjects and orders of representation depend, and by which different—contingent yet constitutive—others are produced.In what follows, I trace a line across several of Chanter’s key texts to explore the ways in which what I am calling an ethics of restlessness unfolds in her work. In so doing, I risk falling into the very trap that Chanter persistently exposes, for by tracing this particular trajectory, I inevitably occlude many other valuable insights she has to offer. Nonetheless, I am going to take this risk and commit—for now—to this reading, to try to articulate what it is that I have most learned from engaging with her work, knowing that our very [End Page 130] exchange is likely to transform my understanding of and relation to that work, generating different interpretative commitments in the future.Ethics and Alterity... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ManifestsRachel Blau Duplessis (bio)O great classic cadences of English poetry We blush to hear thee lie Above thy deep and dreamless.—Denise Riley, Mop Mop GeorgetteThat tall white pasture clump that we call cow parsnip, Queen Anne’s lace magnified, are, in Latin, umbellifers, a flat-topped or rounded flower cluster. But sometimes people call them “umbrella flowers.” This work is closer to umbrella flowers than to umbellifers, down there on the (...) ground with bricolaged theorizing practices, folk etymologies, my poetry, and intransigent details. That was a tribute to the essay as woodsy ramble [Good xii and x].And to the essay as personal—a way of marking and mocking the professional codes and impersonal solemnities of the representation of thought. If saying “I” like a heroine will adequately undermine unsituated false universals, I’ll say “I” yes I will. “I” will report that in 1966 or so I diminished all the way down to a scant handful of one-line poems, and to gnomic statements, barely effective. The kind of development they needed was not rhetorical but historical.I, Lady, you are my true love’s lady. You stand in the middle of the room, Sunlight streaming around you. Sunlight takes hold of the seeds in you And wets them. I want to hold myself to you, But you are myself. Can I?This 1966 fragment issues directly from, and is a preternatural reminder of a passionate problematic—questions of gender, in relation to an engagement with poetry, poetry figured as a set of psychosocial and intellectual institutions imbuing a practice of writing in lines. This fragment knew and represented issues, points of political and cultural contradiction about the construction of authorship and the poetic career before their maker could see them as such. The fragment was a cognitive act, not just in autobiography. It functioned as a probe of a situation then almost invisible and always underacknowledged; to have understood it then, one would have needed the cultural apparatus precipitated (though not elaborated) by a social movement—second wave feminism, something that had not yet occurred.Despite mirroring each other in a dramatic hinged appositive, with Lady as hinge (“I, Lady, you”), the female “I” is separated by the very concept “Lady” from her addressee, one traditional addressee of poems, the female “you.” “Lady” is both hinge and barrier; she belongs to “my true love”—a charming and smug ballad turn, filled with idealizations of class and sexuality. Yet the “I” wants to hold this “you” figure to herself, actualizing in female-to-female attraction the long half-life of a Petrarchan structure of feeling in order to create female authorship. Now that gesture could be interpreted as desire (in a [End Page 31] lesbian, matrifocal, or preoedipal plot), or as self-aggrandizing forms of egoistic desire. Is the desired embrace regressive? immature? narcissistic? self-serving? greedy? masturbatory? (all these having been thought of as bad attitudes with a bad press—one might now wonder). Fueled by an ambisexual or polysexual suggestiveness, the poem makes a wobbly declaration of vocation in its desire to embrace singular, hieratic woman herself, yourself, myself. Yet as pronouns multiply, a serious problem is accosted. “But you are myself. Can I?”The fragment stops, startled, where the cultural problem began. Authorship was compromised and almost aborted; in any event, these issues, which seemed to me, in my (then commonplace) ignorance of female cultural production, to have no analogues, pointed me toward total blockage. The “can I” is not simply a personal questioning of my own powers, but concerns general contingencies of gender and female place in culture, a then invisible social horizon. Am “I” forbidden to poetry by one—but one key—law of poetry—the cult of the idealized female? Should “Lady” be ditched totally? or examined? both? and how to poke at a Petrarchanism that seems utterly belated, never uniformly hegemonic, and not, after all, the whole content of poetry? (As I bear down upon it, it recedes, is evasive.) Yet any number of writers do take “Lady” for granted as one of the institutional assumptions of poetry. Many male writers get to say Lady early and often... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.3 (2001) 483-503 [Access article in PDF] China and the Ideal of Order in John Webb's An Historical Essay.... Rachel Ramsey Scholars of seventeenth-century intellectual history have generally relegated John Webb to the footnotes of their work on universal language schemes, architectural history, and Sino-European relations. 1 In this essay I suggest that Webb's An Historical Essay Endeavoring a Probability that the (...) Language of the Empire of China is the Primitive Language (1669), which argues that for 5000 years China preserved the language spoken by Adam and Eve in the Garden of Eden, makes significant contributions to seventeenth-century intellectual history and to our understanding of early modern European perceptions of China. When Webb's Essay is placed within the context of the seventeenth-century debates about the "primitive" language of Eden, China's ancient history, and the idealization of that empire's harmonious and prosperous culture, its deeply political nature becomes apparent.The Jesuit accounts and those of other travelers to China were especially appealing to English readers living in the aftermath of the civil wars and the turmoil of the early years of the Restoration because they offered glimpses of a seemingly ideal state ruled by a stable monarchy and blessed with seemingly infinite resources and unimaginable wealth; however, these accounts included evidence that China had maintained an unbroken historical record that antedated the Flood, thus implicitly challenging the veracity of the Old Testament account of Noah and the Universal Deluge. Webb's Essay solves the problem posed by the Jesuit accounts of China's ancient history by placing them within a revised biblical narrative; this solution makes it possible for him to claim that China's [End Page 483] exemplary status is a result of its possession of the primitive language and its socio-political virtues are the consequence of its Noachian origins. The revised biblical narrative not only made Webb's encomium to that country more acceptable to a bible-reading public and protestant king but offered a politically-safe way for him to criticize the restored English monarchy by contrasting it to an idealized account of China's social and political state. More specifically, the circumstances of Webb's years of service in the Office of the King's Works help us further understand what attracted a seventeenth-century architect to the Jesuit accounts of China and what motivated him to write the first English treatise on the Chinese language. Webb's political career allows us to read AnHistoricalEssay as a politico-theological justification for a reasoned critique of the patronage system which Webb held accountable for his thwarted career ambitions. Webb's Career and the Politics of the Restoration John Webb lived through some of England's most turbulent history and witnessed firsthand the effects of monarchical instability and regicide, the uncertainties of the Commonwealth, and the shortcomings of the Restoration. Born to a Somerset family in 1611 and educated at the Merchant Taylors' school, Webb became Inigo Jones's pupil in 1628 and served as his "Clerk Engrosser" from 1633 to 1641 in the Office of the King's Works, where Jones was Surveyor. During the early years of the English revolution Webb served as his mentor's deputy in London after Jones fled north with Charles I, but he was dismissed from his post in 1643 following an "accusation from one Mr. Carter to the Committee of the Revenue, that the said Mr. Jones was at Oxford." 2 During his absence from the Office of the Works, Webb supposedly sent detailed plans of London's fortifications and smuggled jewelry to the king, for which he was briefly imprisoned. 3 After Charles I's execution in 1649, Webb worked on several country houses, including those of the Earl of Rutland at Belvoir, the Earl of Peterborough at Drayton, and Sir Justinian Isham at Lamport but he was firmly excluded from holding any political post as a former consort of the martyred King. 4 He held an appointment briefly... (shrink)

Introduction: philosophy of science in practice Content Type Journal Article Category Editorial Article Pages 303-307 DOI 10.1007/s13194-011-0036-4 Authors Rachel Ankeny, School of History & Politics, University of Adelaide, Napier Building, The University of Adelaide, Adelaide, SA 5005, Australia Hasok Chang, Department of History and Philosophy of Science, University of Cambridge, Free School Lane, Cambridge, CB2 3RH UK Marcel Boumans, Faculty of Economics and Business, University of Amsterdam, Valckenierstraat 65-67, 1018 XE Amsterdam, The Netherlands Mieke Boon, Department of Philosophy, University (...) of Twente, Postbox 217, 7500 AE Enschede, The Netherlands Journal European Journal for Philosophy of Science Online ISSN 1879-4920 Print ISSN 1879-4912 Journal Volume Volume 1 Journal Issue Volume 1, Number 3. (shrink)

Volume 51, Issue 1, January 2020, Page 89-91.

The American Journal of Bioethics, Volume 11, Issue 10, Page 22-24, October 2011.

In lieu of an abstract, here is a brief excerpt of the content:How We Keep Caring While Walking Through Our PainOla Ziara and Rachel CoghlanAuthor Dedication. To my dear brother Omar Ziara, a bright doctor, entrepreneur, and community advocate who was killed in an Israeli bombing in November 2023.May your soul rest in peace and may your memory remain alive in our hearts. May your unborn child grow up to become the wonderful man that you were. Forever loved by (...) all.Palestinian-American poet, Suheir Hammad, writes:Occupation means that every day you die, and the world watches in silence. As if your death was nothing, as if you were a stone falling in the earth, water falling over water.And if you face all of this death and indifference and keep your humanity, and your love and your dignity and you refuse to surrender to their terror, then you know something of the courage that is Palestine.I am a doctor from the Gaza Strip in Palestine. I live through acute war and protracted occupation. I work under missiles and through scant resources. I experience risks and dangers and face abominable choices made from nightmares. I know heartbreaking death.As doctors here, we fear, suffer, cry, and grieve alongside our patients and their families. This is my story of how we continue to care.Summer 2014 A Fifty-Two-Day War: How To Stay And How To Keep Them SafeThe huge bombardment strikes close to the hospital, scattering glass and rubble. It brings an abrupt end to my rare, quiet pause for coffee. Are the babies hit? We sprint to the Neonatal Intensive Care Unit, our full attention only on those infants, hastily checking every crib. My thoughts are frenzied. What if the next missile strikes us? Will I be able to rescue them? Will I have time to carry their tiny bodies outside through wreckage and fire? How will I choose who to save, and who to leave behind? Could I choose? Will I even be able to think lucidly, act logically for those babies if the fire consumes us? We stay.Somewhere, a house razed to the ground, a mother and her children dead. This time, our babies are safe.Summer 2014 A Fifty-Two-Day War: How To Cast Off Danger And How To Find ConsolationA missile shatters our neighbour’s roof. I am about to leave home for my evening shift. I check on my shaking mum; she is okay, not hurt at least. I ring the senior doctor. I am sorry. I am coming. I will be a little late. Two further missiles hit, wiping out the next-door building completely. No, do not send an ambulance for me. It is too dangerous. I will come [End Page 153] alone. Trembling through the dust and darkness, I leave on foot to reach those babies. I must compose myself. We are needed there to bring calm, to keep caring.And we gamble our lives to seek distraction and comfort for ourselves. We find solace through unbearable pain in our caring.Winter, Spring, Autumn, Summer, Any Day: How To Question Purpose And How To Feel HelplessIt is an ordinary night shift in ‘quiet’ times. Tonight, all the beds are occupied. All the ventilators are taken, forcing life into small, sick faces. At dawn, the phone call comes. A new baby struggling to breathe is on his way. I call around. No more beds to take him here or anywhere. No more ventilators—here or anywhere. Bring him here. We will care for him.He is in a very bad way. He needs immediate life-saving care. We take turns manually ventilating him, working to the hissing rhythm of the Ambu Bag1—inflating, deflating, inflating. Our arms ache. We keep pumping the bag. Do not stop. The moment when the morning shift arrives is our moment of salvage. We can go home. We have made it through the night without medicines, machines, disposables, or enough manpower, our arms throbbing. We have kept him alive.But he is so fragile, the system is fragile, we are fragile. Dare I even ask—is it worth it? Is it worth a baby surviving the... (shrink)

Volume 20, Issue 6, June 2020, Page 82-84.

Editors’ Note: A major goal of Science and Engineering Ethics is to promote discussion of the ethical issues raised by various aspects of science and engineering, both within the pages of this journal and beyond. We are beginning a series of case presentations and discussions in the Educational Forum. We invite readers to respond to the case and accompanying commentaries, and to submit other cases and commentaries for future publication. We look forward to hearing from you. — S. J. Bird, (...) R. E. Spier. (shrink)

The Princess Bride is the 1987 satirical adventure movie that had to wait for the Internet and DVDs to become the most quoted of all cult classics. The Princess Bride and Philosophy is for all those who have wondered about the true meaning of “Inconceivable!,” why the name “Roberts” uniquely inspires fear, and whether it’s truly a miracle to restore life to someone who is dead, but not necessarily completely dead. The Princess Bride is filled with people trying to persuade (...) each other of various things, and invites us to examine the best methods of persuasion. It’s filled with promises, some kept and some broken, and cries out for philosophical analysis of what makes a promise and why promises should be kept. It’s filled with beliefs which go beyond the evidence, and philosophy can help us to decide when such beliefs can be justified. It’s filled with political violence, both by and against the recognized government, and therefore raises all the issues of political philosophy. Westley, Buttercup, Prince Humperdinck, Inigo Montoya, the giant Fezzik, and the Sicilian Vizzini keep on re-appearing in these pages, as examples of philosophical ideas. Is it right for Montoya to kill the six-fingered man, even though there is no money in the revenge business? What’s the best way to deceive someone who knows you’re trying to deceive him? Are good manners a kind of moral virtue? Could the actions of the masked man in black truly be inconceivable even though real? What does ethics have to say about Miracle Max’s pricing policy? How many shades of meaning can be conveyed by “As You Wish”? (shrink)

Educational Theory, Volume 72, Issue 1, Page 27-30, February 2022.

Volume 98, Issue 1, March 2020, Page 209-209.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 107-115 [Access article in PDF] The Search for Narrative Laura Felleman Fattal The most cursory cultural investigator cannot help but notice that the visual arts have become a significant source and impetus for the narrative of contemporary books, theater, and dance. In recent memory, the following theatrical and dance performances "Contact" by Susan Stroman and John Weidman, "Art" by Yasmina Reza, "Sunday (...) in the Park with George" by Stephen Sondheim, book by James Lapine, "Les Miserables" by Claude-Michel Schfonberg/music and others, "Picasso at the Lapin Agile" by Steve Martin, and "The Sleep of Reason," by Antonio Buero-Vallego have taken the not-so-dead-life (natura morta) or still life of painting into the vital arena of the performing arts. The quest to seek intra-discipline aesthetics among dance, music, theater, and the visual arts is not the charge, but instead a turn to establish a narrative that has brought about this invasion of interactivity between the arts. Clearly defined boundaries between the arts have beenfading since Fluxus, Happenings, and Performance Art for over half a century. In the early part of the twentieth century, Marcel Duchamp's chess games and use of the fourth dimension of time in his numerous produced and pondered pieces all speak to the interrelatedness of the arts.Contemporary novels based on historical themes and subjects have created characters based on the lives and works of famous and intriguing artists such as Michelangelo Caravaggio, Georges de La Tour, and Jan Vermeer. The silence and pensive qualities of the figures of Jan Vermeer, the seventeenth-century Dutch painter, have been the catalyst for two books, The Girl in Hyacinth Blue by Susan Vreeland and the Girl with the Pearl Earring by Tracy Chevalier.1 Vreeland combines the mystic of the Vermeer paintings' characters with the impoverished history of the refugee status of its owners. In various parts of Vreeland's book the authenticity of the Vermeer painting becomes a subtext for describing the work. [End Page 107] Just the lament of some Dutch art historians. Where has such a treasure gone, or some such thing? He turned to pour us both a brandy. So why could this not be? It's his same window opening inward at the left that he has used so often, the same splash of pale yellow light. Take a look at the figures in the tapestry on the table. Same as in nine other paintings. Same Spanish chair with lion's head finials that he used in eleven canvases, same brass studs in the leather. Same black and white tiles placed diagonally on the floor.2A few pages later the interest in the authenticity of the painting continues: No, no signature. But that was not unusual. He often failed to sign his work. Besides, he had at least seven styles of signature. For Vermeer, signatures are not definite evidence. Technique is. Look at the direction of the brush's stroke, those tiny grooves of the brush hairs. They have their lighted and their shaded side. Look elsewhere. You'll find overlapping layers of paint no thicker than silk thread that give a minute difference in shade. That's what makes it a Vermeer.3In Girl with a Pearl Earring, Vermeer's slow and meticulous technique, obsessive involvement with his models and his assiduous composition of light over textures of both animate and inanimate surfaces in the painting become the core of the novel. He had come in and was standing in the studio, looking out a window. "Take a seat, please, Greit," he said, his back to me.I sat in the chair by the harpsichord. I did not touch it — I had never touched an instrument except to clean it. As I waited I studied the paintings he had hung on the back wall that would form part of the concert painting. There was a landscape on the left, and on the right a picture of three people — a woman playing a lute, wearing a dress that revealed much of... (shrink)

Bioethics, Volume 36, Issue 6, Page 687-698, July 2022.

(NOTE: This is a transcript of the class. FOR THE FULL PAPER, please click on "Maxson J. McDowell".) A complete transcript of an experiment performed within a class on dream interpretation. Knowing only the dreamers age and gender, we interpreted his dream from its text. Our interpretation included predictions about the dreamer's psychological issues, and about his defenses. It also identified a series of jokes within the dream which would tend to penetrate the dreamer's defenses. When we had finished our (...) 'blind' interpretation, the bringer of the dream gave us more information about the dreamer against which we tested the accuracy of our predictions. A paper on this experiment has been submitted for publication. A link to an AUDIO-RECORDING of this class is given on the first page of this transcript. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedAndrianou, Dimitra. The Furniture and Furnishings of Ancient Greek Houses and Tombs. Cambridge: Cambridge University Press, 2009. xvi + 213 pp. 24 black-and-white figs. Cloth, $80.Andrisano, Angela Maria, and Paolo Fabbri, eds. La favola di Orfeo: Letteratura, immagine, performance. Ferrara: UnifePress, 2009. 255 pp. 41 black-and-white figs. Paper, €15.Bartsch, Shadi, and David Wray, eds. Seneca and the Self. Cambridge: Cambridge University Press, 2009. ix + 304 pp. 1 (...) black-and-white ill. Cloth, $99.Bers, Victor. Genos Dikanikon: Amateur and Professional Speech in the Courtrooms of Classical Athens. Hellenic Studies 33. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. ix + 159 pp. Paper, $15.95.Bowie, Ewen, and Jaś Elsner, eds. Philostratus. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2009. xii + 401 pp. 14 black-and-white ills. Cloth, $135.Bowlby, Rachel. Freudian Mythologies: Greek Tragedy and Modern Identities. Oxford: Oxford University Press, 2009. viii + 251 pp. Paper, $49.95.Calame, Claude. Poetic and Performative Memory in Ancient Greece: Heroic Reference and Ritual Gestures in Time and Space. Hellenic Studies 18. Washington, D.C.: Center for Hellenic Studies, 2009. Dist. by Harvard University Press. xii + 267 pp. 9 black-and-white figs. Paper, $19.95Collins, Paul. Assyrian Palace Sculptures. With photographs by Lisa Baylis and Sandra Marshall. Austin: University of Texas Press, 2009. 144 pp. Numerous color ills. Cloth, $45.Coltman, Viccy. Classical Sculpture and the Culture of Collecting in Britain Since 1870. Classical Presences. Oxford: Oxford University Press, 2009. xiv + 315 pp. 85 black-and-white figs., 32 color plates. Cloth, $99.Comoth, Katharina. Gott selbst und die Idee. Beiträge zur Philosophie. Heidelberg: Universitätsverlag Winter, 2009. 86 pp. 2 black-and-white ills. Paper, €10.Connelly, Joan Breton. Portrait of a Priestess: Women and Ritual in Ancient Greece. Princeton, N.J.: Princeton University Press, 2007. xv + 421 pp. Numerous black-and-white figs., 27 color plates, 3 maps. Paper, $35. [End Page 345]Eezzuduemhoi, James. I. A. A Fundamental Greek Course. Ed. Glenn Storey. Lanham, Md.: University Press of America, 2009. xxxv + 547 pp. Paper, $65.Erskine, Andrew, ed. A Companion to Ancient History. Blackwell Companions to the Ancient World. Malden, Mass.: Wiley-Blackwell, 2009. xxxvii + 693 pp. 27 black-and-white figs., 5 maps. Cloth, $199.95.Flower, Harriet I. Roman Republics. Princeton, N.J.: Princeton University Press, 2010. xv + 204 pp. Cloth, $29.95.Föllinger, Sabine. Aischylos: Meister der griechischen Tragödie. Munich: C. H. Beck, 2009. 224 pp. 5 black-and-white ills. Cloth, €24.90.Goldhill, Simon, and Edith Hall, eds. Sophocles and the Greek Tragic Tradition. Cambridge: Cambridge University Press, 2009. xvi + 336 pp. Cloth, $99.Grethlein, Jonas, and Antonios Rengakos, eds. Narratology and Interpretation. Trends in Classics 4. Berlin: Walter de Gruyter, 2009. vii + 630 pp. Cloth, €93.41.Haziza, Typhaine. Le Kaléidoscope hérodotéen: Images, imaginaire et représentations de l'Égypte à travers le livre II d'Hérodote. Études anciennes 142. Paris: Les Belles Lettres, 2009. 393 pp. 7 black-and-white figs. Paper, €45.Jouanna, Jacques, and Franco Montanari, eds. Eschyle: À l'aube du théâtre occidental. Entretiens Hardt 55. Geneva: Fondation Hardt, 2009. Dist. by Vandoeuvres. xi + 510 pp. Cloth: SFr 85.Johnson, Mark J. The Roman Imperial Mausoleum in Late Antiquity. Cambridge: Cambridge University Press, 2009. xviii + 296 pp. Numerous black-and-white figs., 16 color plates. Cloth, $95.Kronenberg, Leah. Allegories of Farming from Greece and Rome: Philosophical Satire in Xenophon, Varro, and Virgil. Cambridge: Cambridge University Press, 2009. xi + 223 pp. Cloth, $99.Loukopoulou, Louisa D., and Selene Psoma, eds. Thrakika Zetemata. Vol. 1. In collaboration with Athéna Iakovidou. Meletemata 58. Athens: Research Centre for Greek and Roman Antiquity of the National Hellenic Research Foundation, 2008. Dist. by Boccard. 175 pp. Numerous black-and-white figs. Paper, price not stated.Lowrie, Michèle, ed. Horace: Odes and Epodes. Oxford Readings in Classical Studies. Oxford: Oxford University Press, 2009. viii + 472 pp. Cloth, $199; paper, $75.Martin, Gunther. Divine Talk: Religious Argumentation in Demosthenes. Oxford Classical Mongraphs. Oxford: Oxford University Press, 2009. ix + 345 pp. Cloth, $125. [End Page 346]Mendoni, Lina G., and Sophia B... (shrink)

This is a three-page refutation of the Rachels's denial of moral diversity. In sections 2.5 and 2.6 of ‘The Challenge of Cultural Relativism,’ James and Stuart Rachels argue that diversity amongst cultures with regard to moral rules is overstated because all cultures have some values in common. I show that their argument is invalid and otherwise unsound and that cultures differ substantially with regard to their moral rules.

Among Aristotle’s criticisms of the Form of the Good is his claim that the knowledge of such a Good could be of no practical relevance to everyday rational agency, e.g. on the part of craftspeople. This critique turns out to hinge ultimately on the deeply different assumptions made by Plato and Aristotle about the relation of ‘good’ and ‘good for’. Plato insists on the conceptual priority of the former; and Plato wins the argument.

A joke is amusing if and only if it’s fitting to be amused by it; an act is regrettable if and only if it’s fitting to regret it. Many philosophers accept these biconditionals and hold that analogous ones obtain between a wide range of additional evaluative properties and the fittingness of corresponding responses. Call these the _fit–value biconditionals_. The biconditionals give us a systematic way of recognizing the role of fit in our ethical practices; they also serve as the bedrock (...) of various metaethical projects, such as fitting-attitude analysis of value and the ‘fittingness first’ approach. Yet despite the importance of the biconditionals, there is very little discussion of their proper interpretation. This paper argues that any plausible interpretation of the fit_–_value biconditionals must disarm several kinds of apparent counterexample. For instance, that an achievement is pride-worthy doesn’t imply it is fitting for me to take pride in it because the achievement might not be mine or that of anyone close to me; that a joke is amusing doesn’t imply it is fitting for me to be amused by it for six straight months; and that a person is loveable doesn’t imply it is fitting for me to love him romantically because that person might be my sibling. We consider possible responses to such counterexamples and develop what we consider the most promising interpretation of the biconditionals. The upshot is that certain widespread assumptions about fit and its relation to value and reasons should be reconsidered. (shrink)

Anthology of readings in moral philosophy.

What words we use, and what meanings they have, is important. We shouldn't use slurs; we should use 'rape' to include spousal rape (for centuries we didn’t); we should have a word which picks out the sexual harassment suffered by people in the workplace and elsewhere (for centuries we didn’t). Sometimes we need to change the word-meaning pairs in circulation, either by getting rid of the pair completely (slurs), changing the meaning (as we did with 'rape'), or adding brand new (...) word-meaning pairs (as with 'sexual harassment'). A problem, though, is how to do this. One might worry that any attempt to change language in this way will lead to widespread miscommunication and confusion. I argue that this is indeed so, but that's a feature, not a bug of attempting to change word-meaning pairs. The miscommunications and confusion such changes cause can lead us, via a process I call transformative communicative disruption, to reflect on our language and its use, and this can be further, rather than hinder, our goal of improving language. (shrink)

Lucidly and persuasively written, this book will be an invaluable resource for students and scholars seeking to understand Irigaray's original contribution to philosophical and feminist thought.

Kant's Critique of Judgment has often been interpreted by scholars as comprising separate treatments of three uneasily connected topics: beauty, biology, and empirical knowledge. Rachel Zuckert's book interprets the Critique as a unified argument concerning all three domains. She argues that on Kant's view, human beings demonstrate a distinctive cognitive ability in appreciating beauty and understanding organic life: an ability to anticipate a whole that we do not completely understand according to preconceived categories. This ability is necessary, moreover, for (...) human beings to gain knowledge of nature in its empirical character as it is, not as we might assume it to be. Her wide-ranging and original study will be valuable for readers in all areas of Kant's philosophy. (shrink)

This Element presents a philosophical exploration of the concept of the 'model organism' in contemporary biology. Thinking about model organisms enables us to examine how living organisms have been brought into the laboratory and used to gain a better understanding of biology, and to explore the research practices, commitments, and norms underlying this understanding. We contend that model organisms are key components of a distinctive way of doing research. We focus on what makes model organisms an important type of model, (...) and how the use of these models has shaped biological knowledge, including how model organisms represent, how they are used as tools for intervention, and how the representational commitments linked to their use as models affect the research practices associated with them. This title is available as Open Access on Cambridge Core. (shrink)

In Talking about, Unnsteinsson defends an intentionalist theory of reference by arguing that confused referential intentions degrade reference. Central to this project is a “belief model” of both identity confusion and unconfused thought. By appealing to a well‐known argument from Campbell, I argue that this belief model falls short, because it fails to explain the inferential behavior it promises to explain. Campbell's argument has been central in the contemporary literature on Frege's puzzle, but Unnsteinsson's account of confusion provides an opportunity (...) for more clarity about how the argument is best interpreted, and what it shows. (shrink)

This article employs Foucauldian and feminist analytics to advance a critical approach to wearable digital health- and activity-tracking devices. Following Foucault’s insight that the growth of individual capabilities coincides with the intensification of power relations, I argue that digital self-tracking devices (DSTDs) expand individuals’ capacity for self-knowledge and self-care at the same time that they facilitate unprecedented levels of biometric surveillance, extend the regulatory mechanisms of both public health and fashion/beauty authorities, and enable increasingly rigorous body projects devoted to the (...) attainment of normative femininity. These technologies of surveillance, normalization, and discipline thus function to augment, and facilitate the cooperation of, neoliberal-era biopower and post-feminist patriarchal power. My analysis of digital self-tracking devices’ instrumentality to biopower and patriarchy contributes to the emergent field of critical digital health studies and builds new connections between political, social, and feminist theories of embodiment; biopower studies; fat studies; and trans-disciplinary body studies. (shrink)

This paper offers three objections to Leslie’s recent and already influential theory of generics :375–403, 2007a, Philos Rev 117:1–47, 2008): her proposed metaphysical truth-conditions are subject to systematic counter-examples, the proposed disquotational semantics fails, and there is evidence that generics do not express cognitively primitive generalisations.

In this volume, Rachel Giora explores how the salient meanings of words - the meanings that stand out as most prominent and accessible in our minds - shape how we think and how we speak. For Giora, salient meanings display interesting effects in both figurative and literal language. In both domains, speakers and writers creatively exploit the possibilities inherent in the fact that, while words have multiple meanings, some meanings are more accessible than others. Of the various meanings weencode (...) in our mental lexicon for a given word or expression, we ascribe greater cognitive priority to some over others. Interestingly, the most salient meaning is not always the literal meaning. Giora argues that it is cognitively prominent salient meanings, rather than literal meanings, that play the most important role in the comprehension and production of language. She shows that even though context begins to affect comprehension immediately, it does so without obstructing the early accessing of salient meanings. Thus, the meaning we first attend to is the salient word meaning, regardless of contextual bias. Knowledge of salient meanings turns out to play a major role, perhaps the most important role, in the process of using and understanding of language. Going beyond the familiar effects of literal meaning and context, the Graded Salience Hypothesis presents the most comprehensive explanation for how we use language for meaning. In this volume, Giora presents her new model for the first time in a book-length treatment, with original and illuminating perspectives that will be of interest to linguists, philosophers, psychologists, and all who want to know more about just how we understand what we mean. (shrink)

It is tempting to hold that guilt‐tripping is morally wrong, either because it is objectionably manipulative, or because it involves gratuitously aiming to make another person suffer, or both. In this article, I develop a picture of guilt according to which guilt is a type of pain that incorporates a commitment to its own justification on the basis of the subject's wrongdoing. This picture supports the hypothesis that feeling guilty is an especially efficient means for a wrongdoer to come to (...) more deeply understand why her behavior was wrong; it is precisely because guilt is painful and involves a self‐reflexive justificatory element that it is able to play this role. Such a picture, moreover, preserves the possibility that deliberately making others feel guilty needn't involve aiming gratuitously to harm them and needn't be objectionably manipulative. It follows that we should be surprisingly sanguine about the practice of inducing guilt in wrongdoers as a means of facilitating their moral edification. (shrink)

We offer an interpretation of the mental files framework that eliminates the metaphor of files, information being contained in files, etc. The guiding question is whether, once we move beyond the metaphors, there is any theoretical role for files. We claim not. We replace the file-metaphor with two theses: the semantic thesis that there are irreducibly relational representational facts (viz. facts about the coordination of representations); and the metasemantic thesis that processes tied to information-relations ground those facts. In its canonical (...) statement, the ‘file’-theory makes reference to a certain kind of relational representational feature, and a certain kind of mental activity. Mental files need not come into it. In short, we posit mental filing without mental files. Our interpretation avoids awkward problems that arise on the standard interpretation and clarifies the explanatory commitments of the theory. (shrink)

This book is about the norms of the speech act of assertion. This is a topic of lively contemporary debate primarily carried out in epistemology and philosophy of language. Suppose that you ask me what time an upcoming meeting starts, and I say, “4 p.m.” I’ve just asserted that the meeting starts at 4 p.m. Whenever we make claims like this, we’re asserting. The central question here is whether we need to know what we say, and, relatedly, whether what we (...) assert must be true. If the meeting is really at 3:30 p.m., you’ll be late, and probably rather upset that I told you the wrong time. In some sense, it seems like I’m on the hook for having said something false. This sense that I’ve done something wrong suggests that there are certain standards of evaluating assertions: a way of distinguishing between good and bad, appropriate and inappropriate. We call these standards norms. And so the debate about what, if any, norms govern the linguistic practice of assertion is known as the norms of assertion debate. When one’s assertion satisfies the norm, we say that the assertion is warranted. -/- Various philosophers have typically focused their views of the norms of assertion on articulating the level of epistemic support required for properly asserting. Some argue, for example, that one must know what one asserts. Others argue that one merely needs to justifiably believe what one asserts–an epistemic standing weaker than knowledge. The purpose of this book is to defend what I propose as the central norm governing our practice of assertion, which I call the Supportive Reasons Norm. Here’s what it looks like: -/- One may assert that p only if: One has supportive reasons for p, The relevant conventional and pragmatic elements of the context are present, and One asserts that p at least in part because the assertion that p satisfies and. -/- In rough outline, the standards for warrantedly asserting shift with changes in context, although knowledge is never required for warrantedly asserting. In fact, in some special contexts, speakers may warrantedly lie. This latter feature particularly sets apart my view from others in the debate. This also means that truth, knowledge, and even belief aren’t necessary conditions for warrantedly asserting. (shrink)

Rachel Cohon offers an original interpretation of the moral philosophy of David Hume, focusing on two areas.

Classifying Madness (Springer, 2005) concerns philosophical problems with the Diagnostic and Statistical Manual of Mental Disorders, more commonly known as the D.S.M. The D.S.M. is published by the American Psychiatric Association and aims to list and describe all mental disorders. The first half of Classifying Madness asks whether the project of constructing a classification of mental disorders that reflects natural distinctions makes sense. Chapters examine the nature of mental illness, and also consider whether mental disorders fall into natural kinds. The (...) second half of the book addresses epistemic worries. Even supposing a natural classification system to be possible in principle, there may be reasons to be suspicious of the categories included in the D.S.M. I examine the extent to which the D.S.M. depends on psychiatric theory, and look at how it has been shaped by social and financial factors. I aim to be critical of the D.S.M. without being antagonistic towards it. Ultimately, however, I am forced to conclude that although the D.S.M. is of immense practical importance, it is unlikely to come to reflect the natural structure of mental disorders. (shrink)

In this book, Rachel Zuckert provides the first overarching account of Johann Gottfried Herder's complex aesthetic theory. She guides the reader through Herder's texts, showing how they relate to eighteenth- and nineteenth-century European philosophy of art, and focusing on two main concepts: aesthetic naturalism, the view that art is natural to and naturally valuable for human beings as organic, embodied beings, and - unusually for Herder's time - aesthetic pluralism, the view that aesthetic value takes many diverse and culturally (...) varying forms. Zuckert argues that Herder's theory plays a pivotal role in the history of philosophical aesthetics, marking the transition from the eighteenth-century focus on aesthetic value as grounded in human nature to the nineteenth-century focus on art as socially significant and historically variable. Her study illuminates Herder's significance as an innovative thinker in aesthetics, and will interest a range of readers in philosophy of art and European thought. (shrink)