Philosophical inquiry into pregnancy, childbirth, and mothering is a growing area of interest to academic philosophers. This volume brings together a diverse group of philosophers to speak about topics in this reemerging area of philosophical inquiry, taking up new themes, such as maternal aesthetics, and pursuing old ones in new ways, such as investigating stepmothering as it might inform and ground an ethics of care. The theoretical foci of the book include feminist, existential, ethical, aesthetic, phenomenological, social and political theories. (...) These perspectives are then employed to consider many dimensions of pregnancy, childbirth, and mothering, which are of central importance to human existence, but are only rarely discussed in philosophical cannons. Topics include pregnancy and embodiment, breast-feeding, representations – or the lack thereof – of pregnant and birthing women, adoption, and post-partum motherhood. (shrink)

Building on recent theories ofscience in society, such as that provided bythe `Mode 2' framework, this paper argues thatgovernments should reconsider existingrelations among decision-makers, experts, andcitizens in the management of technology.Policy-makers need a set of ` technologies ofhumility' for systematically assessing theunknown and the uncertain. Appropriate focalpoints for such modest assessments are framing,vulnerability, distribution, and learning.

Britain's Royal Society of Arts has recently produced a report on the conditions of future successful business in Britain, entitled Tomorrow's Company, in which the idea of the “inclusive company” is seen to be central to such success. How, and to what extent, does business ethics figure in this prospect for the future? The author is Vice‐Chairman of the Institute of Management and former Chair of its Professional Practice Committee.

Though feminists are correct to note that conventional standards of sexiness are oppressive, we argue that feminism should reclaim sexiness rather than reject it. We argue for an aesthetic and ethical practice of working to shift from conventional attributions of sexiness to respectful attributions, in which embodied sexual subjects are appreciated in their full individual magnificence. We argue that undertaking this practice is an ethical obligation, since it contributes to the full recognition of others’ humanity. We discuss the relationship of (...) ethical to aesthetic considerations and argue that the respectful notion of sexiness is a genuinely aesthetic one, even though it does not involve assessment in relation to standards. (shrink)

In the past twenty years, the field of science and technology studies (S&TS) has made considerable progress toward illuminating the relationship between scientific knowledge and political power. These insights have not yet been synthesized or presented in a form that systematically highlights the connections between S&TS and other social sciences. This timely collection of essays by some of the leading scholars in the field attempts to fill that gap. The book develops the theme of "co-production", showing how scientific knowledge both (...) embeds and is embedded in social identities, institutions, representations and discourses. Accordingly, the authors argue, ways of knowing the world are inseparably linked to the ways in which people seek to organize and control it. Through studies of emerging knowledges, research practices and political institutions, the authors demonstrate that the idiom of co-production importantly extends the vocabulary of the traditional social sciences, offering fresh analytic perspectiveson the nexus of science, power and culture. (shrink)

The development of clinical ethic support in the UK arguably brings with it a series of legal questions, which need to be addressed. Most particularly, these concern questions of due process and formal justice, which I argue are central to the provision of appropriate ethical advice. In this article, I will compare the UK position with the more developed system in the USA, which often provides a template for development in the UK. While it is not argued that the provision (...) of clinical ethics support in the UK will necessarily follow the path mapped in the USA, there are lessons that can be learned from the US experience – particularly in terms of attention to process – from which UK clinical ethics support service might well benefit. (shrink)

'An extremely readable book that should provoke both economists and students of economic methodology to think more deeply about what they are doing.' Roger E. Backhouse, Professor of the History and Philosophy of Economics, University of BirminghamEconomic Methodology provides an accessible introduction to the subject-matter of and literature on the methodology of economics. It presents issues in economics in order to demonstrate the need for methodological awareness and debate. The core of the book then explains the content and development of (...) thought in methodology in relation to issues in economics, with an especial emphasis on the most recent thinking in the area. (shrink)

In this article, I consider the standard interpretation of the superiority theory of humor attributed to Plato, Aristotle, and Hobbes, according to which the theory allegedly places feelings of superiority at the center of humor and comic amusement. The view that feelings of superiority are at the heart of all comic amusement is wildly implausible. Therefore textual evidence for the interpretation of Plato, Aristotle, or Hobbes as offering the superiority theory as an essentialist theory of humor is worth careful consideration. (...) Through textual analysis I argue that not one of these three philosophers defends an essentialist theory of comic amusement. I also discuss the way various theories of humor relate to one another and the proper place of a superiority theory in humor theory in light of my analysis. (shrink)

Environmentalists can make individuals more eco-friendly by dispelling many of the myths and misconceptions about the natural world. By learning what in nature is and is not dangerous, and in what contexts the danger is real, individuals can come to aesthetically appreciate seemingly unappreciable nature. Since aesthetic attraction can be an extremely valuable tool for environmentalists, with potentialbeyond that of scientific education, the quest for an eco-friendly is neither unnecessary nor redundant. Rather, an eco-friendly aesthetic ought to be pursued in (...) conjunction with other efforts to protect nature. (shrink)

The Southern Journal of Philosophy, EarlyView.

A team of eminent practitioners and writers contribute to an assessment of the philosophy of landscape, and collectively form a new approach to creative design.

In calling for the transformation of military medical education and training, the 2005 Base Realignment and Closure Commission recommended relocating basic and specialty enlisted medical training to a single site to take advantage of economies of scale and the opportunity for joint training. As a result, a joint medical education and training campus (METC) has been established at Fort Sam Houston, Texas. Two of METC's primary long-term goals are to become a high-performing learning organization and to seek accreditation as a (...) community college. Such goals require a clear model of organizational improvement with well-defined metrics for measuring its performance and using research and evaluation to assess and improve that performance. Lessons learned from a review of practices at institutions with similar missions -- such as community colleges, corporate universities, the UK's Defence Medical Education and Training Agency, and other federal agencies, such as the Veterans Health Administration -- establish a clear need for an office of institutional research to help METC attain its organizational goals. They also provide useful recommendations regarding the METC office's structure, scope, and governance. (shrink)

Orality, literacy, and an epistemic approach tovisual narrative -- Excavating the oral characteristics of visual narrative -- Mapping the literate characteristics of visual narrative -- Between the oral and literate epistemes -- The future of the orality-literacy paradigm, cinematically speaking -- The politics of (re)presentation -- Digital technology and beyond -- Concluding remarks.

Despite triggering one of the largest civilian death tolls in modern history, the policy and human consequences of economic sanctions on Iraq between 1990-2003 remain largely unexamined. This lack of scrutiny mirrors the euphemism and mis-information surrounding the embargo itself and the Oil-for-Food program ostensibly adopted to protect Iraq's civilian population. But it also reflects incomprehension among Western publics - long removed from the realities of hunger and economic destitution - of the intimate link between economic conditions and mortality. Iraq (...) suffered an estimated 1.5 million excess deaths because of a catastrophic undermining of civilian livelihood triggered by the embargo; an outcome termed slow famine in the demographic literature. With much of the population fully dependent on daily food rations of less than 21 cents per person for much of the sanctions period, OfF `relief' was inherently incapable of substituting for a functioning civil economy. Recent positive accounts of the impact of OfF, in the form of the Independent Inquiry Committee into the Oil-for-Food Program, are refuted by close analysis of malnutrition and mortality rates across the sanctions period. The example of Iraq reveals the danger in treating economic sanctions as a cheap, `non-violent' tool for conflict resolution. In reality their deadly power is terrorizing for societies not protected from their application by permanent member status on the UN Security Council, a threat which continues to generate global insecurity. The Iraq experience reveals how current, narrowly framed, international law prohibitions on starvation as a weapon of war need to be extended to cover interference with civilian livelihood and hence access to food. (shrink)

It is my purpose in this thesis to explore the "reality" of illness, using philosophical phenomenology as a guide. In particular, I am concerned to show that the experience of illness, rather than representing a shared "reality" between physician and patient, represents in effect two quite distinct "realities". Philosophical phenomenology focuses on the nature of experience, and particularly upon the manner in which all experience is structured by the activity of consciousness. In so doing phenomenology emphasizes the unique nature of (...) experiencing and particularly the correlation between the perceiver and that which is perceived. Meaning is seen to be a function of the activity of individual consciousness. In the first chapter consideration is given to some basic concepts which are fundamental for phenomenology and a distinction is made between "own world" and "common world." In the second chapter these concepts are shown to provide insights into the nature of the discrepancy between the physician's and the patient's understanding of illness. Consideration is given to the manner in which the separate worlds of the physician and patient are constituted. It is argued that it is through attentional focusing that the sense of illness is made explicit for the individual. An analysis is provided of the manner in which such attentional focusing is determined. In the third chapter consideration is given to the question of how it is possible to construct a shared world of meaning between patient and physician, given the unique nature of experiencing. An eidetic interpretation of illness is proposed and attention is directed towards some ways in which we do, in fact, come to some understanding of the Other. In the final chapter it is suggested that the notion of healing presupposes a shared world between physician and patient. A distinction is made between healing and curing disease. It is noted that the manner in which the "reality" of illness is defined directly influences the way in which the end of the patient/physician relationship is defined. It is argued that the end of the patient/ physician relationship is healing and that healing is a mutual act which is accomplished within the context of a shared world between physician and patient. (shrink)

From Hippocrates to paternalism to autonomy : the new hegemony -- From autonomy to consent -- Consent, autonomy, and the law -- Autonomy at the end of life -- Autonomy and pregnancy -- Autonomy and genetic information -- Autonomy and organ transplantation -- Autonomy, consent, and the law.

We consider a paradigm of applications of Logic Engineering to illustrate the information interchange among different areas of knowledge, through the formal approach to some aspects of computing. We apply the paradigm to the area of distributed systems, taking the demand for specification formalisms, treated in three areas of knowledge: modal logics, first-order logic and algebra. In doing so, we obtain transfer of intuitions and results, establishing that, as far as input/output representation is concerned, these three formalisms are equivalent.

Land art requires careful evaluation when assessing its aesthetic and ethical value. Critics of land art charge that it is unethical in that it uses nature without such use being justified by some future good. Other critics charge that land art harms nature aesthetically. In this essay, the author canvasses these charges and argues that some land art is ethically and aesthetically defensible, and that some has great and rare potential in both realms.

STS research has devoted relatively little attention to the promotion and reception of science and technology by non-scientific actors and institutions. One consequence is that the relationship of science and technology to political power has tended to remain undertheorized. This article aims to fill that gap by introducing the concept of sociotechnical imaginaries. Through a comparative examination of the development and regulation of nuclear power in the US and South Korea, the article demonstrates the analytic potential of the imaginaries concept. (...) Although nuclear power and nationhood have long been imagined together in both countries, the nature of those imaginations has remained strikingly different. In the US, the state’s central move was to present itself as a responsible regulator of a potentially runaway technology that demands effective containment. In South Korea, the dominant imaginary was of atoms for development which the state not only imported but incorporated into its scientific, technological and political practices. In turn, these disparate imaginaries have underwritten very different responses to a variety of nuclear shocks and challenges, such as Three Mile Island (TMI), Chernobyl, and the spread of the anti-nuclear movement. (shrink)

An important function of the self is to identify external objects that are potentially personally relevant. We suggest that such objects may be identified through mere ownership. Extant research suggests that encoding information in a self-relevant context enhances memory , thus an experiment was designed to test the impact of ownership on memory performance. Participants either moved or observed the movement of picture cards into two baskets; one of which belonged to self and one which belonged to another participant. A (...) subsequent recognition test revealed that there was a significant memory advantage for objects that were owned by self. Acting on items had no impact on memory. Results are discussed with reference to the importance of self-object associations in cognition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Adjudicating the Debate Over Two Models of Nature AppreciationSheila Lintott (bio)It seems commonplace to point out that we aesthetically appreciate a wide variety of objects: that is, art objects are not the only good candidates for aesthetic appreciation.1 We know from experience that one can aesthetically appreciate not only Georgia O'Keefe's White Trumpet Flower, but also a white trumpet flower. Similarly, we can aesthetically appreciate both a pictorial representation (...) of the human form and that form instantiated in certain prime specimens. We do so, moreover, without classifying either flowers or human beings as art objects. Yet, the paradigm of aesthetic appreciation today, in both everyday life and in educative contexts, is the appreciation of art, which explains why we tend to try to understand what makes aesthetic appreciation appropriate in terms of what makes art appreciation appropriate. This approach may not be entirely mistaken, for beginning with the familiar is always a good plan. However, it must be done with care, otherwise important differences between our relationships with the art we appreciate and with the nature we appreciate may be overlooked, thereby obscuring salient differences in the appreciation of each.In this essay, I focus on the issue of the appropriate aesthetic appreciation of nature and offer an overview of a contemporary debate on the topic. I begin with a general discussion of art and nature appreciation. I then summarize Kendall Walton's theory of appropriate art appreciation and explain his skepticism regarding the possibility of appropriate and inappropriate nature appreciation. Next, I discuss two models according to which Walton is mistaken, as the philosophers who present these models, Allen Carlson and Noël Carroll, do so to illustrate how nature appreciation can be properly considered appropriate or inappropriate. It may seem that given the recent proliferation of models of nature appreciation, the last thing we should seek is yet another model. However, in the end, I shall argue the need for a new and different kind of model, one that is a revisionist and extensionist model of nature appreciation. [End Page 52]Art and Nature AppreciationConcerning the perceptual activity of the audience, how we ought to appreciate artworks is largely uncontroversial. Perhaps this is why Carlson opens his attempt to understand the aesthetic appreciation of nature with a presentation of the aesthetic appreciation of art, explaining that "with art objects there is a straightforward sense in which we know both what and how to aesthetically appreciate."2 Although not all artworks offer "straightforward" examples of aesthetic appreciation, Carlson's general point is reasonably motivated. As Kendall Walton succinctly explains: "Paintings and sculptures are to be looked at; sonatas and songs are to be heard. What is important about these works of art, as works of art, is what can be seen or heard in them."3 That we ought to look at paintings and listen to sonatas seems obvious for at least two reasons. First, via formal education and informal interactions, we have grown familiar with the conventions of art appreciation; second, such conventions find experiential reinforcement when, for example, our auditory sense is tickled by a Mozart concerto.4Underlying our relative lack of confidence when it comes to nature appreciation is the obvious fact that nature, unlike art, is not an artifact. Nature was not made by beings like us; it was made neither for our use, nor for our entertainment, nor for our appreciation.5 As Carlson puts it, "art objects are our own creations; it is for this reason that we know what is and what is not part of a work, which of its aspects are of aesthetic significance, and how to appreciate them" (ANE, 41). We need, therefore, a model of nature appreciation that will serve as a source of education regarding how best to appreciate nature and will offer the confidence we lack and the guidance we seek.It might seem that we should simply apply our knowledge of art to nature appreciation — that is, appreciate nature as if it were art. However, as numerous philosophers have noticed, this approach is mistaken.6 The mistake is both theoretical and practical. Theoretically, it is a category error... (shrink)

Feminist philosophy has taken too long to engage seriously with aesthetics and has been even slower in confronting natural beauty in particular. There are various possible reasons for this neglect, including the relative youth of feminist aesthetics, the possibility that feminist philosophy is not relevant to nature aesthetics, the claim that natural beauty is not a serious topic, hesitation among feminists to perpetuate women's associations with beauty and nature, and that the neglect may be merely apparent. Discussing each of these (...) possibilities affords a better understanding of, but none justify the neglect of natural beauty in feminist aesthetics. (shrink)

In this paper, I argue that one of the most intense ways women are encouraged to enjoy sublime experiences is via attempts to control their bodies through excessive dieting. If this is so, then the societal-cultural contributions to the problem of eating disorders exceed the perpetuation of a certain beauty ideal to include the almost universal encouragement women receive to diet, coupled with the relative shortage of opportunities women are afforded to experience the sublime.

In lieu of an abstract, here is a brief excerpt of the content:Adjudicating the Debate Over Two Models of Nature AppreciationSheila Lintott (bio)It seems commonplace to point out that we aesthetically appreciate a wide variety of objects: that is, art objects are not the only good candidates for aesthetic appreciation.1 We know from experience that one can aesthetically appreciate not only Georgia O'Keefe's White Trumpet Flower, but also a white trumpet flower. Similarly, we can aesthetically appreciate both a pictorial representation (...) of the human form and that form instantiated in certain prime specimens. We do so, moreover, without classifying either flowers or human beings as art objects. Yet, the paradigm of aesthetic appreciation today, in both everyday life and in educative contexts, is the appreciation of art, which explains why we tend to try to understand what makes aesthetic appreciation appropriate in terms of what makes art appreciation appropriate. This approach may not be entirely mistaken, for beginning with the familiar is always a good plan. However, it must be done with care, otherwise important differences between our relationships with the art we appreciate and with the nature we appreciate may be overlooked, thereby obscuring salient differences in the appreciation of each.In this essay, I focus on the issue of the appropriate aesthetic appreciation of nature and offer an overview of a contemporary debate on the topic. I begin with a general discussion of art and nature appreciation. I then summarize Kendall Walton's theory of appropriate art appreciation and explain his skepticism regarding the possibility of appropriate and inappropriate nature appreciation. Next, I discuss two models according to which Walton is mistaken, as the philosophers who present these models, Allen Carlson and Noël Carroll, do so to illustrate how nature appreciation can be properly considered appropriate or inappropriate. It may seem that given the recent proliferation of models of nature appreciation, the last thing we should seek is yet another model. However, in the end, I shall argue the need for a new and different kind of model, one that is a revisionist and extensionist model of nature appreciation. [End Page 52]Art and Nature AppreciationConcerning the perceptual activity of the audience, how we ought to appreciate artworks is largely uncontroversial. Perhaps this is why Carlson opens his attempt to understand the aesthetic appreciation of nature with a presentation of the aesthetic appreciation of art, explaining that "with art objects there is a straightforward sense in which we know both what and how to aesthetically appreciate."2 Although not all artworks offer "straightforward" examples of aesthetic appreciation, Carlson's general point is reasonably motivated. As Kendall Walton succinctly explains: "Paintings and sculptures are to be looked at; sonatas and songs are to be heard. What is important about these works of art, as works of art, is what can be seen or heard in them."3 That we ought to look at paintings and listen to sonatas seems obvious for at least two reasons. First, via formal education and informal interactions, we have grown familiar with the conventions of art appreciation; second, such conventions find experiential reinforcement when, for example, our auditory sense is tickled by a Mozart concerto.4Underlying our relative lack of confidence when it comes to nature appreciation is the obvious fact that nature, unlike art, is not an artifact. Nature was not made by beings like us; it was made neither for our use, nor for our entertainment, nor for our appreciation.5 As Carlson puts it, "art objects are our own creations; it is for this reason that we know what is and what is not part of a work, which of its aspects are of aesthetic significance, and how to appreciate them" (ANE, 41). We need, therefore, a model of nature appreciation that will serve as a source of education regarding how best to appreciate nature and will offer the confidence we lack and the guidance we seek.It might seem that we should simply apply our knowledge of art to nature appreciation — that is, appreciate nature as if it were art. However, as numerous philosophers have noticed, this approach is mistaken.6 The mistake is both theoretical and practical. Theoretically, it is a category error... (shrink)

The power of technology? -- Risk and responsibility? -- The ethical anatomy of disasters? -- Remaking nature? -- Tinkering with humans? -- Information's wild frontiers? -- Whose knowledge, whose property? -- Reclaiming the future? -- The ethics of invention?

_Explores the philosophical, literary, and psychoanalytic significance of film endings._ Editing has been called the language of cinema, and thus a film’s ending can be considered the final punctuation mark of this language, framing everything that came before and offering the key to both our interpretation and our enjoyment of a film. In _Cinematic Cuts_, scholars explore the philosophical, literary, and psychoanalytic significance of film endings, analyzing how film endings engage our fantasies of cheating death, finding true love, or determining (...) the meaning of life. They examine how endings offer various forms of enjoyment for the spectator, from the momentary fulfillment of desire in the happy ending to the pleasurable torment of an indeterminate ending. The contributors also consider how film endings open onto larger questions relating to endings in our time. They suggest how a film ending’s hidden counternarrative can be read as a political act, how our interpretation of a film ending parallels the end of a psychoanalytical session, how film endings reveal our anxieties and fears, and how cinema itself might end with the increasing intervention of digital technologies that reorient the spectator’s sense of temporality and closure. Films by Akira Kurosawa, Lars von Trier, Joon-Hwan Jang, Claire Denis, Christopher Nolan, Jane Campion, John Huston, and Spike Jonze, among others, are discussed. (shrink)