The twenty-first century has seen its share of ethical failures, which brings into question what the role of ethics is. Past experience demonstrates ethics functioning as a reactive measure to a permanent consequence, the equivalent of pointing at an accident and commenting, “The driver should not have been going so fast.” While such an observation may be accurate, it does little to correct the situation or prevent further ones from occurring. Ethics must function as more than a guide; they must (...) be preventative in nature and determine a correct course of action for individuals and organizations. They must teach and serve as a qualitative standard. (shrink)

The genesis of values occurred in the Garden of Eden when God created man. He instilled in man the value of knowledge, which Satan used as part of his deception. God created man with a core intellect capable of external influence. Our modern culture interprets the world through its values and beliefs, both of which are codified and forged into a worldview. The Christian worldview is predicated upon biblical teaching and interpretation. It is the foundation for family values. These values (...) are prevalent in the Book of Genesis1 and are what comprise the family unit, the decline of which is eroding the values given by God. (shrink)

"The Marriage Translation" argues that a Benjaminian account of translation can shed new light on the ways in which contemporary practices of queer alliance transform, and are transformed by, legal and political discourse. In a constellation of readings—of arguments for the French pacs, of Benjamin's essays on translation, and on Goethe's Elective Affinities, as well as of two photos of the illegal weddings celebrated in San Francisco and in Bègles, France—the article emphasizes the ways social contexts are sometimes reinvigorated and (...) at other times ignored by the demand for certain forms of legal recognition. (shrink)

A central thinker on the question of the animal in continental thought, Élisabeth de Fontenay moves in this volume from Jacques Derrida’s uneasily intimate writing on animals to a passionate frontal engagement with political and ethical theory as it has been applied to animals—along with a stinging critique of the work of Peter Singer and Paola Cavalieri as well as with other “utilitarian” philosophers of animal–human relations. Humans and animals are different from one another. To conflate them is to be (...) intellectually sentimental. And yet, from our position of dominance, do we not owe them more than we often acknowledge? In the searching first chapter on Derrida, she sets out “three levels of deconstruction” that are “testimony to the radicalization and shift of that philosopher’s argument: a strategy _through_ the animal, exposition to an animal or to this animal, and compassion _toward_ animals.” For Fontenay, Derrida’s writing is particularly far-reaching when it comes to thinking about animals, and she suggests many other possible philosophical resources including Adorno, Leibniz, and Merleau-Ponty. Fontenay is at her most compelling in describing philosophy’s ongoing indifference to animal life—shading into savagery, underpinned by denial—and how attempts to exclude the animal from ethical systems have in fact demeaned humanity. But Fontenay’s essays carry more than philosophical significance. _Without Offending Humans_ reveals a careful and emotionally sensitive thinker who explores the unfolding of humans’ assessments of their relationship to animals—and the consequences of these assessments for how we define ourselves. (shrink)

For several years now, early cinema historians have developed certain notions that can help us define, in a much broader context, the axes of research in intermedial studies. Even though I’ll be giving it a slightly different importance, the notion I will be borrowing from these historians here is that of the “parameter.” Work by André Gaudreault and Philippe Marion on the emergence of the cinematographic medium relies on the idea that the medium appears as the result of a choice (...) made by the historian. To write the history of any given medium and separate it into periods, one must also select the components “that gathered together as a way of giving ‘birth’ to that medium at.. (shrink)