Experiential evidence shows that pain is associated with common meanings. These include a meaning of threat or danger, which is experienced as immediately distressing or unpleasant; cognitive meanings, which are focused on the long-term consequences of having chronic pain; and existential meanings such as hopelessness, which are more about the person with chronic pain than the pain itself. This interdisciplinary book - the second in the three-volume Meanings of Pain series edited by Dr Simon van Rysewyk - aims to better (...) understand pain by describing experiences of pain and the meanings these experiences hold for the people living through them. The lived experiences of pain described here involve various types of chronic pain, including spinal pain, labour pain, rheumatic pain, diabetic peripheral neuropathic pain, fibromyalgia, complex regional pain syndrome, endometriosis-associated pain, and cancer-related pain. Two chapters provide narrative descriptions of pain, recounted and interpreted by people with pain. Language is important to understanding the meaning of pain since it is the primary tool human beings use to manipulate meaning. As discussed in the book, linguistic meaning may hold clues to understanding some pain-related experiences, including the stigmatisation of people with pain, the dynamics of patient-clinician communication, and other issues, such as relationships between pain, public policy and the law, and attempts to develop a taxonomy of pain that is meaningful for patients. Clinical implications are described in each chapter. This book is intended for people with pain, their family members or caregivers, clinicians, researchers, advocates, and policy makers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 182-186 [Access article in PDF] Book Review Rhetoric and Community: Studies in Unity and Fragmentation Rhetoric and Community: Studies in Unity and Fragmentation. Studies in Rhetoric/Communication. Ed. J. Michael Hogan. Series ed. Thomas W. Benson. Columbia, SC: U of South Carolina P, 1998. Pp. xxxviii + 315. $39.95. Based on papers and critical responses presented at the Fourth Biennial Public Address Conference, which was (...) held at Indiana University in 1994, this collection of fourteen essays by leading rhetoric scholars concentrates on the relationships among rhetoric, community, and fragmentation. Organized into three broad sections entitled "Race, Gender, and Community," "War and Community," and "Artistic and Scientific Community," the book contributes to ongoing conversations about the roles of language, symbolism, differences, metaphors, myths, hegemony, economic class, pluralism, and multiple consciousness in unifying the United States. A preface and a conclusion by J. Michael Hogan, who edited the collection, provides an orientation and summary for this new volume in the University of South Carolina Press series devoted to Studies in Rhetoric/Communication.The preface frames the book's contribution as a response to a belief that "a growing number of social and political commentators fear that the United States has lost all sense of 'community'--that repository of shared purpose, values, and traditions which historically has defined the American character" (xii). Hogan amplifies, "The signs of stress and fragmentation appear everywhere, not just in our national political and cultural dialogue but in all of the various communities that define our social lives--our families, our neighborhoods, our towns and cities, our professions, and our social and cultural associations" (xii). The preface situates the book in this concern about a "lost" unity that once upon a time typified the United States. But this "lost" community is a mythic representation of a past that has never existed in the United States, except possibly in the imaginations of people habituated to dominant roles. Stephen H. Browne's comments about restoration projects in general are germane: "The work of restoration has [End Page 182] never come easy for Americans, not least of all because it presumes a state that never existed and the appeal to which is almost always self-interested" (75).Describing the fourteen contributors as sharing "a common bond," Hogan asserts, "recognizing that communities are largely defined, and rendered healthy or dysfunctional, by the language they use to characterize both themselves and others, all share an abiding concern with how communities are constituted and sustained--or, in some cases, threatened and disrupted--by the words their leaders choose to characterize both themselves and others" (xv). Hogan emphasizes a question that he reiterates with slight changes in the conclusion: "Can feminist or ethnic and racial communities successfully sustain and celebrate their own identities without alienating themselves from the larger community?" (295; similarly, xxiii). But if all members of a community are responsible for unity and fragmentation, if we are unwilling to assign responsibility for fragmentation to subordinated community members, it may be necessary, consciously, to reverse the dynamics of power implicit in Hogan's question, by asking: "Can groups that have had a history of dominating others--both beyond and within the borders--sustain their own identities and still relate productively to the community?" In addition, because the English language is a communal inheritance, it may be revealing to ask, in a reversal of the book's focus on "community," how are notions of individualism sustained in the United States?Roderick P. Hart's introduction, "Community by Negation--An Agenda for Rhetorical Inquiry," focuses on a rhetoric of hate as practiced by both the political right and the political left. Hart inquires "whether it is possible to have community without hate" (xxv). This question is necessary in any serious discussion of rhetoric, fragmentation, and community; yet calculated opportunism and economic exploitation may be misnamed and obfuscated in language depicting a rhetoric of "hate." Indeed, Lu-in Wang, a legal scholar, suggests that these other motives may be more common than animus in so-called "hate crimes." Live interviews with convicted killers... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Lester Brown called me up at my office one morning, two months after returning from Beijing, and invited to a press conference he was giving in Washington in early September on a new book he had written after returning from Beijing, entitled Who Will Feed China? I asked him how he had managed to write a book so quickly, and he replied: "I dictated the book and my secretary entered it directly into her computer. It was completed in less (...) than a month.". (shrink)

Beginning in 2013, Pennsylvania State University Press will manage design, production, distribution, and subscription fulfillment, in both print and online editions, of The Journal of Rand Studies. This enterprise requires an expansion of the journal's editorial and advisory boards. The Editorial Board— Stephen Cox, Roderick Long, and Chris Sciabarra—welcomes Robert Campbell, while the Board of Advisors welcomes six new members, reflecting its growing interdisciplinary and global reach: David Beito, Peter Boettke, Susan Love Brown, Hannes Gissurarson, Steven Horwitz, and David Mayer, (...) who join founding board members Douglas Den Uyl, Mimi Gladstein, Robert Hessen, Lester Hunt, Eric Mack, and Douglas Rasmussen. (shrink)

It describes and explains the patient-centered model examining and evaluating qualitative and quantitative research. It comprehensively covers the evolution and the six interactive components of the patient-centered clinical method, taking the reader through the relationships between the patient and doctor and the patient and clinician. All the editors are professors in the Department of Family Medicine at the University of Western Ontario, London, Canada.

In an influential essay entitled Why abortion is wrong, Donald Marquis argues that killing actual persons is wrong because it unjustly deprives victims of their future; that the fetus has a future similar in morally relevant respects to the future lost by competent adult homicide victims, and that, as consequence, abortion is justifiable only in the same circumstances in which killing competent adult human beings is justifiable.1 The metaphysical claim implicit in the first premise, that actual persons have a future (...) of value, is ambiguous. The Future Like Ours argument (FLO) would be valid if “future of value” were used consistently to mean either “potential future of value” or “self-represented future of value”, and FLO would be sound if one or the other interpretation supported both the moral claim and the metaphysical claim, but if, as I argue, any interpretation which makes the argument valid renders it unsound, then FLO must be rejected. Its apparent strength derives from equivocation on the concept of “a future of value”. (shrink)

Ethical descriptivism is the view that all ethical properties are descriptive properties. Frank Jackson has proposed an argument for this view which begins with the premise that the ethical supervenes on the descriptive, any worlds that differ ethically must differ also descriptively. This paper observes that Jackson's argument has a curious structure, taking a linguistic detour between metaphysical starting and ending points, and raises some worries stemming from this. It then proposes an improved version of the argument, which avoids these (...) worries, and responds to some potential objections to this version of the argument. (shrink)

This paper investigates the semantic treatment of conditional obligation, explicit permission (often called positive permission), and prohibition based on models with agents and branched time. In such models branches (rather than moments) are taken as basic, and the branching provides a way to represent the indeterminism which is normally presupposed by talk of free will, responsibility, action and ability. Careful treatment of the relation between ability and responsibility avoids many common problems with accounts of conditional obligation. Recognition of the generality (...) often involved in conditional obligations makes possible a sensitive way of expressing some kinds of general prohibitions, which in turn makes it possible to account for the special role of explicit permission. (shrink)

The Racial and Religious Hatred Act 2006 represents a significant development in UK law. It extends the offence of incitement to racial hatred set out in the Public Order Act 1986 to make it also an offence to stir up hatred against persons on religious grounds. As the most celebrated liberal thinker of the nineteenth century, J.S. Mill might be expected to offer some lessons about the possible dangers of this sort of legislation. A Millian response to the 2006 Act (...) is developed here by first applying Mill’s famous defence of free speech to the Lords amendments to the Racial and Religious Hatred Bill 2005 and then by looking at potential cases in which even freedom of expression loses its immunity when this is necessary to prevent harm to others. Three versions of the harm‐prevention justification for liberty‐limiting restrictions are assessed and it is argued that the most promising version is the claim that it may be permissible to punish incitement to racial and religious hatred not so much because it is itself a kind of harm but by virtue of the acts of discrimination, violence and injustice that are more likely to occur within a climate of hatred. Ultimately, however, this rationale must be weighed against what is, for Mill, the special value of free speech and may in the end justify intervention in only the most acute cases. (shrink)

I was dreaming about Delores when the phone interrupted us. It was the Chief, or ‘Stress,’ as we liked to call him, telling me to get part of my anatomy down to Shakey’s Funeral Parlor. My head ached. I thought I must be the only sucker who gets a hangover from being drunk on life. I got up, put two eggs, a spoonful of wheatgerm, the remains of the scotch, and the phonebill into the blender and fed the whole lot (...) to the cat. It helped, but not as much as Delores would have. I should have married her even if she was a Hubot. At least she could play chess. I was still Rumanating over Delores as I hit the curb outside Shakey’s.I had the notion that Shakey’s was once a pizza joint but I could have been wrong. I found Stress, disheveled as usual, in the lobby.‘You’re late,’ he said. I wasn’t, but he’s thatkinda guy. He says ‘Jump!’ and you say ‘With or without my legs?’ We got our free Cokes from Shakey himself, who led us down the hall. (shrink)

In the first part of this essay it is contended that Schutz''s project is best called the philosophical theory of the cultural sciences; in the last parts it is shown that he offers satisfactory rudiments of a theory of the historical sciences except where the differentia specifica of those sciences is concerned. The central part is devoted to women''s liberation as a case of contemporary history in relation to which Schutz''s thought about the historical sciences needs correction.

I was dreaming about Delores when the phone interrupted us. It was the Chief, or ‘Stress,’ as we liked to call him, telling me to get part of my anatomy down to Shakey’s Funeral Parlor. My head ached. I thought I must be the only sucker who gets a hangover from being drunk on life. I got up, put two eggs, a spoonful of wheatgerm, the remains of the scotch, and the phonebill into the blender and fed the whole lot (...) to the cat. It helped, but not as much as Delores would have. I should have married her even if she was a Hubot. At least she could play chess. I was still Rumanating over Delores as I hit the curb outside Shakey’s.I had the notion that Shakey’s was once a pizza joint but I could have been wrong. I found Stress, disheveled as usual, in the lobby.‘You’re late,’ he said. I wasn’t, but he’s thatkinda guy. He says ‘Jump!’ and you say ‘With or without my legs?’ We got our free Cokes from Shakey himself, who led us down the hall. (shrink)

Many feminist and queer scholars believe that one way to fight racism, sexism and homophobia is to challenge identity labels---ideas of what it means to be “black,” “gay,” “white,” “woman,” “lesbian.” Biology, however, continues to thwart this political agenda; the Body---the biological reality of skin color and sex chromosomes---makes it difficult to propose the idea that identity labels are merely social constructs, not natural facts. Female bodybuilding is a performance that literalizes the body as a site of artificial construction, of (...) intervention, modification. Furthermore, female bodybuilding is a performance of gender bending---women who construct hypermuscular bodies disrupt social norms of gender, performing a kind of self-styled hermaphroditism that begs the question, “why?” This essay explores how female body builders challenge identity labels of sex and gender because of the fact that their gender transgressions occur at the physiological level of the body. I argue that female bodybuilders parody dominant labeling philosophies of sex, gender, and sexual orientation, challenging our sex/gender paradigm in very unique ways. (shrink)

Adult education has long been the Cinderella of the education system. This is not helped by the fact that there is currently an impasse between employers, government and individuals over who should finance such training. So what, if anything, can philosophers do to help resolve the normative question of who ought to pay, setting aside for the moment the practical question of how this might be put into effect? An important strand of contemporary egalitarian philosophy argues that equality of opportunity (...) for education should be implemented in such a way that children with the same level of talent and the same willingness to make an effort have the same opportunity to attain skills and qualifications such that they are each able (at the onset of adult life) to compete effectively with others for advantageous positions and rewards in society. But what about children or teenagers who drop out of education or make such little effort that they achieve wholly inadequate exam results? Should they be offered second and third chances for free education as adults funded by the state? A case is made for lifelong as opposed to one-off equality of opportunity for education on a number of grounds, including efficiency, utility, the value of choice, the social bases of self-respect and responsibility-catering prioritarianism. This last view supports lifelong access to education (for reasons of priority) but with the additional (responsibility-catering) stipulation that adults should contribute at least some of the costs themselves in so far as they are accountable for not making enough effort the first time around. (shrink)

To establish a starting point for a phenomenological theory of the science of primate ethology, this essay first reviews how the phenomenological philosophers Aron Gurwitsch and Maurice Merleau-Ponty made use of the Gestalt psychologist Wolfgang Köhler’s description of chimpanzee consciousness and its objects and then considers primate ethology in light of the theory of the cultural sciences in the work of Gurwitsch in addition to that of Alfred Schutz.

Adult education has long been the Cinderella of the education system. This is not helped by the fact that there is currently an impasse between employers, government and individuals over who should finance such training. So what, if anything, can philosophers do to help resolve the normative question of who ought to pay, setting aside for the moment the practical question of how this might be put into effect? An important strand of contemporary egalitarian philosophy argues that equality of opportunity (...) for education should be implemented in such a way that children with the same level of talent and the same willingness to make an effort have the same opportunity to attain skills and qualifications such that they are each able (at the onset of adult life) to compete effectively with others for advantageous positions and rewards in society. But what about children or teenagers who drop out of education or make such little effort that they achieve wholly inadequate exam results? Should they be offered second and third chances for free education as adults funded by the state? A case is made for lifelong as opposed to one-off equality of opportunity for education on a number of grounds, including efficiency, utility, the value of choice, the social bases of self-respect and responsibility-catering prioritarianism. This last view supports lifelong access to education (for reasons of priority) but with the additional (responsibility-catering) stipulation that adults should contribute at least some of the costs themselves in so far as they are accountable for not making enough effort the first time around. (shrink)

Adult education has long been the Cinderella of the education system. This is not helped by the fact that there is currently an impasse between employers, government and individuals over who should finance such training. So what, if anything, can philosophers do to help resolve the normative question of who ought to pay, setting aside for the moment the practical question of how this might be put into effect? An important strand of contemporary egalitarian philosophy argues that equality of opportunity (...) for education should be implemented in such a way that children with the same level of talent and the same willingness to make an effort have the same opportunity to attain skills and qualifications such that they are each able (at the onset of adult life) to compete effectively with others for advantageous positions and rewards in society. But what about children or teenagers who drop out of education or make such little effort that they achieve wholly inadequate exam results? Should they be offered second and third chances for free education as adults funded by the state? A case is made for lifelong as opposed to one-off equality of opportunity for education on a number of grounds, including efficiency, utility, the value of choice, the social bases of self-respect and responsibility-catering prioritarianism. This last view supports lifelong access to education (for reasons of priority) but with the additional (responsibility-catering) stipulation that adults should contribute at least some of the costs themselves in so far as they are accountable for not making enough effort the first time around. (shrink)

After addressing the question of whether Aron Gurwitsch (1901–1973) even had a theory of psychology, which is not obvious unless one collates the many dispersed remarks, a well-documented exposition of that theory is offered that clarifies the data, categories, field, methods, and topics of the versions of psychology he advocated.

He who sees everywhere only nature, nature in the sense of, and, as it were, through the eyes of, natural science, is precisely blind to the spiritual sphere, the special domain of the human sciences. Such a one does not see persons and does not see the Objects which depend for their sense upon personal performances, i.e., Objects of “culture.” (IV: 191).

This volume contains the proceedings of the six symposia of the 'Philosophers into Europe' conference held under the joint auspices of the Royal Institute of Philosophy and the British Society for Phenomenology at the University of Southampton in September 1969.

Women are the fastest-growing population of people who use drugs in the US. As a group, they are more likely than men to experience stigma, poverty, and negative mental health outcomes. This article discusses the unique needs of women drug users in the US and provides suggestions on how to leverage national attention — and federal funding — to make harm reduction services in the US more gender sensitive, and, as a result, more effective in reducing harm for women who (...) use drugs in this country. (shrink)

The first thesis is that beliefs play a role in explaining behavior. This is reasonably uncontroversial, though it has been controverted. Why did I raise my arm? Because I wanted to emphasize a point, and believed that I could do so by raising my arm. The belief that I could emphasize a point by raising my arm is central to the most natural explanation of my action.