Collects personal essays about simple moments that illuminate life.

David Garland?s The Culture of Control tells us more about the political culture of a post?11 September world than even he must have anticipated. The core of Garland?s cultural argument is his elaboration of a Durkheimian concept of moral individualism, to which he attributes a trend?setting influence lasting into the new millennium. He argues that, among youth, this new cultural influence has an egoistic, hedonistic quality, linked to a non?stop consumption ethos of the new capitalism. He emphasises that it is (...) the disadvantaged rather than the more privileged participants in this hedonistic youth culture who have been singled out for legal exposure and criminal sanctioning in a highly politicised binge of late modern penality. Garland?s prescient account exposes the first and most visible layers of social control that still hide vast inequalities in crime and punishment. There are important untold stories of the unpunished, more privileged participants in the hedonistic ?party? subculture of late modernity. The youthful patrons of this subculture, like their officially deviant counterparts, are disaffiliated and distrustful of conventional institutions, including contemporary work, family and politics. Garland awakens an awareness of our need to learn more about both the sanctioned and unsanctioned youth who are prominent and consequential players in our changing culture and politics. (shrink)

Contents: John A. HALL and Ian JARVIE: Preface. John A. HALL and Ian JARVIE: The Life and Times of Ernest Gellner. PART 1 INTELLECTUAL BACKGROUND. Ji_i MUSIL: The Prague Roots of Ernest Gellner's Thinking. Chris HANN: Gellner on Malinowski: Words and Things in Central Europe. Tamara DRAGADZE: Ernest Gellner in the Soviet East. PART 2 NATIONS AND NATIONALISM. Brendan O'LEARY: On the Nature of Nationalism: An Appraisal of Ernest Gellner's Writings on Nationalism. Kenneth MINOGUE: Ernest Gellner and the (...) Dangers of Theorising Nationalism. Anthony D. SMITH: History and Modernity: Reflection on the Theory of Nationalism. Michael MANN: The Emergence of Modern European Nationalism. Nicholas STARGARDT: Gellner's Nationalism: The Spirit of Modernisation? PART 3 PATTERNS OF DEVELOPMENT. Peter BURKE: Reflections on the History of Encyclopaedias. Alan MACFARLANE: Ernest Gellner and the Escape to Modernity. Ronald DORE: Sovereign Individuals. Shmuel EISENSTADT: Japan: Non-Axial Modernity. Marc FERRO: l'Indépendance Telescopée: De la Décolonisation a l'Impérialisme Multinational. PART 4 ISLAM. Abdellah HAMMOUDI: Segmentarity, Social Stratification, Political Power and Sainthood: Reflections on Gellner's Theses. Henry MUNSON, Jr.: Rethinking Gellner's Segmentary Analysis of Morocco's Ait cAtta. Jean BAECHLER: Sur le charisme. Charles LINDHOLM: Despotism and Democracy: State and Society in the Premodern Middle East. Henry MUNSON, Jr.: Muslim and Jew in Morocco: Reflections on the Distinction between Belief and Behavior. Talal ASAD: The Idea of an Anthropology of Islam. PART 5 SCIENCE AND DISENCHANTMENT. Perry ANDERSON: Science, Politics, Enchantment. Ralph SCHROEDER: From the Big Divide to the Rubber Cage: Gellner's Conception of Science and Technology. John DAVIS: Irrationality in Social Life. PART 6 RELATIVISM AND UNIVERSALS. John SKORUPSKI: The Post-Modern Hume: Ernest Gellner's 'Enlightenment Fundamentalism'. John WETTERSTEN: Ernest Gellner: A Wittgensteinian Rationalist. Ian JARVIE: Gellner's Positivism. Raymond BOUDON: Relativising Relativism: When Sociology Refutes the Sociology of Science. Rod AYA: The Devil in Social Anthropology; or, the Empiricist Exorcist; or, the Case Against Cultural Relativism. PART 7 PHILOSOPHY OF HISTORY. William MCNEILL: A Swan Song for British Liberalism? Andrus PARK: Gellner and the Long Trends of History. Eero LOONE: Marx, Gellner, Power. Rosaire LANGLOIS: Coercion, Cognition and Production: Gellner's Challenge to Historical Materialism and Postmodernism. Ernest GELLNER: Reply to Critics. Ian JARVIE: Complete Bibliography of Gellner's Work. Name index. Subject index. (shrink)

Brian Eno's Ambient 1: Music for Airports is a seminal album in the history of electronic music. Using Deleuze and Guattari's notion of the assemblage, I explore the album's compositional structure as well as its ambient function, by attending to specific tracks and locating the album in musical history, particularly relative to the work of John Cage, La Monte Young, and Steve Reich. In an extended discussion of its ambient function, I argue that the LP offers music for (...) reverie that is capable of initiating processes of potential self-transformation. (shrink)

To judge from the rash of recent law review articles, it is a miracle that research with human subjects in the U.S. continues to draw breath under the asphyxiating heel of the rent-seeking, creativity-stifling, jack-booted bureaucrethics that is the current system of research ethics oversight and review. Institutional Review Boards, sometimes called Research Ethics Committees, have been accused of perpetrating “probably the most widespread violation of the First Amendment in our nation's history,” resulting in a “disaster, not only for academics, (...) but for the whole nation.” One member of the President's Council on Bioethics went so far as to assert, “There has been no greater damage to academic freedom in the United States in my lifetime. And my lifetime encompasses McCarthy and it encompasses political correctness, both.” Locked in the bureaucratic “iron cage” of IRB oversight, critics charge that researchers have been transformed into a vulnerable, exposed population, subject to domination, that has been likened in one case to a kind of “Tuskegee in reverse.”. (shrink)

In December 2013, the Nonhuman Rights Project (NhRP) filed a petition for a common law writ of habeas corpus in the New York State Supreme Court on behalf of Tommy, a chimpanzee living alone in a cage in a shed in rural New York (Barlow, 2017). Under animal welfare laws, Tommy’s owners, the Laverys, were doing nothing illegal by keeping him in those conditions. Nonetheless, the NhRP argued that given the cognitive, social, and emotional capacities of chimpanzees, Tommy’s confinement (...) constituted a profound wrong that demanded remedy by the courts. Soon thereafter, the NhRP filed habeas corpus petitions on behalf of Kiko, another chimpanzee housed alone in Niagara Falls, and Hercules and Leo, two chimpanzees held in research facilities at Stony Brook University. Thus began the legal struggle to move these chimpanzees from captivity to a sanctuary, an effort that has led the NhRP to argue in multiple courts before multiple judges. The central point of contention has been whether Tommy, Kiko, Hercules, and Leo have legal rights. To date, no judge has been willing to issue a writ of habeas corpus on their behalf. Such a ruling would mean that these chimpanzees have rights that confinement might violate. Instead, the judges have argued that chimpanzees cannot be bearers of legal rights because they are not, and cannot be persons. In this book we argue that chimpanzees are persons because they are autonomous. (shrink)

John Cage and Henry David Thoreau draw attention to the indeterminacy of wild nature and imply humans cannot entirely control the natural world. This paper argues Cage and Thoreau each encourages his audience to recognize their own human limitations in relation to wildness, and thus each helps his audience to develop greater humility before nature. By reflecting on how Thoreau’s theory relates to Cage’s music, we can recognize how Cage’s music contributes to audiences’ environmental moral (...) education. We can appreciate the role of music in helping audiences to develop values conducive to environmentally sustainable practices. (shrink)

In this essay we will take the American experimental composer John Cage’s understanding of sound as the starting point for an evaluation of that term in the field of sound studies. Drawing together two of the most influential figures in the field, Cage’s thought and work will serve as a lens through which to engage with recent debate concerning the uptake in sound studies of the philosophy of Gilles Deleuze. In so doing we will attempt to develop (...) a path between conflicting sides of sound studies, putting forward an understanding of sound that presents it not as an uninterrogated ontological essence, nor as only a term in a discursive web, but as a problem which must be repeatedly posed anew. We will consider points where this may yet be pushed towards a reified, essentialized understanding of the nature of sound, but move to offset this by emphasizing the production of a practical process of learning and experimentation. (shrink)

The ambition in what follows is to begin a consideration of the lessons that might be learnt from a reassessment of twentieth-century avant-gardist practice within the domain of musical composition. The goal here will not be an evaluation of the compositional outputs of this period but, rather, some reflections on the place and role of teaching within and among the musicians themselves, remembering that many of them gained a considerable reputation as teachers: Arnold Schoenberg, Olivier Messiaen, Karlheinz Stockhausen, and (...) class='Hi'>John Cage being the pre-eminent examples.And, as an aside, before too quickly assuming that the radical newness and futurism associated with much avant-gardism is somehow at odds with our... (shrink)

Where does agency lie in musical performance? How is it expressed? Recent music scholarship has highlighted an increasingly prominent tendency to conceive of agency as not confined to any one individual or type of individual, instead being distributed across diverse individuals that can be found occupying performance situations. . This article uses two ‘percussion’ works from the 1970s by the composer John Cage, Child of Tree (1975) and its multi-performer elaboration Branches (1976), as a foil for engaging with (...) these practical and theoretical musical concerns, and for suggesting some heretofore underappreciated distinctions within the ongoing work on multi-agential performance. (shrink)

This essay suggests that Hans-Georg Gadamer’s descriptive phenomenology of ‘tarrying’ [Verweilen] can be configured as an essential component of musical experience. At issue is the type of effortful work that intensifies the subject’s most valuable musical experiences and that allows them to become more sustainable and sensitive. It is assumed that music’s presence in the subject’s life should blossom and indeed bloom over time, although this guiding assumption is left unexamined while the essay considers how a detailed phenomenology of musical (...) tarrying might afford the subject a way of underwriting the ways in which human-music relationships are configured. John Cage’s plant piece Child of Tree is deployed, perhaps counterintuitively, as an example of the ideal hermeneutic attitude underwriting tarrying, although it is suggested that the applicability of Gadamer’s constitution of tarrying extends beyond the musical-theatrical avant-garde. (shrink)

Abstract:In this paper, I apply John Cage’s wide musical embrace of sound to the field of music education and explore its curricular and practical implications. In particular, I ask music teachers to consider themselves teachers of sound, or “sound teachers.” I argue that privileging sound as our chief concern leads us to reconsider the ways we speak about music, the offerings we include in our music curricula, and the ways we teach (about) sound. In particular, I suggest that (...) application of Cage’s ideas compels us to permit still more genres and styles in the classroom and curriculum, to emphasize activities that allow students to manipulate a diverse palette of sound types (for example, electronic composition), and to teach in ways that expand and diversify rather than narrow and limit students’ relationships with sound. I close by considering how Cage’s ideas of “purposeless play” and “purposeful purposelessness” orient our goals toward making students more attentive to and invested in the world of sound and the sound of the world. (shrink)

In the juxtaposition of these authors' aesthetics, this book reveals surprising overlaps in the thoughts of Cage and Thoreau.

In this thesis we construct a critical encounter between the composer John Cage and the philosopher Gilles Deleuze. This encounter circulates through a constellation of problems found across and between mid-twentieth century musical, artistic, and philosophical practices, the central focus for our line of enquiry being the concept of experimentation. We emphasize the production of a method of experimentation through a practice historically situated with regards to the traditions of the respective fields of music and philosophy. However, we (...) argue that these experimental practices are not reducible to their historical traditions, but rather, by adopting what we term a problematic reading, or transcendental critique, with regards to historical givens, they take their historical situation as the site of an experimental departure. We follow Cage through his relation to the history of Western classical music, his contemporaries in the musical avant-garde, and artistic movements surrounding and in some respects stemming from Cage’s work, and Deleuze through his relation to Kant, phenomenology, and structuralism, in order to map the production of a practice of experimentation spanning music, art, and philosophy. Some specific figures we engage with in these respective traditions include Jean-Phillipe Rameau, Pierre Schaeffer, Marcel Duchamp, Pierre Boulez, Robert Morris, Yoko Ono, La Monte Young, Edmund Husserl, Maurice-Merleau-Ponty, Alain Badiou, and Félix Guattari. In so doing we seek to find between these practices points of both conjunction and disjunction which enrich our understanding of Cage’s and Deleuze’s work, and, more widely speaking, of the passage of twentieth century music and philosophy in general. Here we hope to make contributions to the fields of continental philosophy and music theory especially, and to open a point of engagement with the nascent field of sound studies. (shrink)

Comparisons of Ludwig Wittgenstein and John Cage typically focus on the “later Wittgenstein” of the Philosophical Investigations. However, in this article I focus on the deep intellectual sympathy between the “early Wittgenstein” of the Tractatus Logico-Philosophicus—with its evocative and controversial invocation of silence at the end, the famous proposition 7: “Whereof we cannot speak, thereof we must be silent”—and Cage's equally evocative and controversial work on the same theme—his “silent piece,” 4′33″. This sympathy expresses itself not only (...) in the common aim of the two works (a mystical appreciation for the ordinary, everyday world that surrounds us) but also in a shared methodology for bringing about this aim (tracing the limits of language from within in order to transcend those very limits). In this sense, I argue that Cage's work gives a concrete, performative reality to Wittgenstein's early conception of language as well as the mystical revelation that lies behind it. (shrink)

That [John] Cage’s challenge to our musical beliefs, attitudes, and practices is posed from the difficult perspective of a Zen master has often been discussed. What has been neglected both by Cage himself and by others is another equally potent challenge to the ordinary which Cage formulates in a related but distinct voice: that of the philosopher. Through his relentless inquiry into new music, Cage had defined certain radical possibilities for musical change. What is in (...) effect his skepticism about music as we know it contains a cogent analysis of our musical concepts and practices: of what it is for us ordinarily to believe that something is music as opposed to not music, and of how those beliefs about music connect with styles of feeling and treating what we hear when we hear it as music. Indeed it is Cage’s genius to have established the topic of skepticism about music as an issue for philosophy and cultural criticism. Cage’s radical perspective on our musical beliefs allows us to consider both what those beliefs are and whether and how they might be justified. This invitation to philosophical response is an important feature of the avant-garde which Cage shares with Duchamp in plastic art, Gordon Matta-Clarke in architecture, and others. I wish to give it its due by outlining and addressing Cage’s skepticism about music. Daniel A. Herwitz is an assistant professor of philosophy at California State University, Los Angeles. He is currently at work on a book exploring philosophical tendencies in twentieth-century music, art, and architecture. (shrink)

The paper is focused on the intedermination in compositive processes. In particular on John Cage. The art and the thought of Cage were a response to the growing complexity of the world through a practice and a reflection that focuses heavily on the concept of emptiness, understood as technical decentralization of: the author of the musical structure and the individual and of the same identification of sounds. This complexity results from a network of independent nodes, subjects, activities (...) and institutions that interact in no particular order. You can no longer assume the existence of an ultimate subject for whose wisdom assumes all sense. There is no longer any author. Events happen randomly. Relinquishing control is one of the main themes running through the compositional work of Cage. (shrink)

Résumé De 4’33”, plage de silence rigoureusement chronométrée, à la série des « pièces numérotées », nombreuses sont les compositions et conférences de John Cage qui s’inscrivent dans un cadre temporel d’une extrême précision, délimitant à la seconde près la durée de la performance à effectuer. Ces marquages temporels, que Cage désigne par le terme de « structure », se combinent au choix d’une « méthode » impliquant le hasard : c’est cette articulation paradoxale entre la présence (...) de la contrainte et une esthétique du lâcher prise, entre la discipline requise et la contingence du résultat sonore, que nous interrogeons dans cet article. (shrink)

In this sweeping revision of avant-garde history, John Cage takes his rightful place as Wordsworth's great and final heir. George Leonard traces a direct line back from Cage, Pop, and Conceptual Art through the Futurists to Whitman, Emerson, Ruskin, Carlyle, and Wordsworth, showing how the art of everyday objects, often thought an exclusively contemporary phenomenon, actually began as far back as 1800. In recovering the links between such seemingly disparate figures, Leonard transforms our understanding of modern culture. (...) Selected by the American Library Association's journal, _Choice_, as "one of the Outstanding Academic Books of the Year" "Leonard's book is a fine example of interdisciplinary studies. He shifts focus persuasively from art theory to literature to religious thought and biography, making his method seem the natural mode of inquiry into culture."—Kenneth Baker, _San Francisco Chronicle Book Review_ "Provocative and illuminating."—_Library Journal_ "Highly stimulating, impassioned."—_Publisher's Weekly_ "A rich and rewarding study written in a clear and accessible style with excellent references and a very useful index. Highly recommended."—_Choice_. (shrink)

The story of Musicologia unfolds in thirty-one chapters from primordial considerations of silence, communication, selfhood, balance, and motion to focus on more recent and specific issues of chaos, order, relativity, and artificial ...

Selected by the American Library Association's journal, Choice, as "one of the Outstanding Academic Books of the Year" "Leonard's book is a fine example of interdisciplinary studies.

Review of Gerhard Richter's work on randomness in his recent abstract art paintings, compared with John Cage's work on randomness; the review asks about what randomness in representation qua art amounts to.

For John Ziman, 'the essence of the human condition' is the 'two-way, interactive character' of interpersonal relationships, and he argues that '[t]he bias towards atomic individualism not only bedevils the human and social sciences: it also distorts the whole philosophy of nature.' But in spite of his recognition of the importance of 'escap[ing] from the Cartesian cage' of the 'solipsist stance', Ziman himself has not entirely escaped the influence of a residual Cartesianism. This is evident in his tendency (...) to over-intellectualize the character of interactive relationships with talk of 'a theory of mind' and to imply that such relationships are only possible with other people like ourselves. Both of these ideas stem from the Cartesian position that knowledge starts from an introspective awareness of one's own mental states and that the mental states of others can only be inferred by analogy. Having first observed that my mental state x is accompanied by behaviour y, my observation of behaviour y in another is taken as an indication that he is experiencing mental state x. I will argue that our ability to understand the behaviour of others depends neither on a theory of mind nor on their being 'like us'. (shrink)

It is an irony perhaps worthy of John Ashbery that the critics who made his reputation as our premier contemporary poet have virtually ignored the innovations which in fact make his work distinctively of our time. The received terms show us how Ashbery revitalizes the old wisdom of Keats or the virile fantasies of Emersonian strength but they do so at the cost of almost everything about the work deeply responsive to irreducibly contemporary demands on the psyche. Such omissions (...) not only distance Ashbery from the urgencies of the present, they also make it far more difficult to appreciate just how the best contemporary art actually defines the challenges and possibilities created by that present. By banishing writers like Ashbery to literary tradition, we leave the domain of the postmodern to two dominant discourses. One is driven by post-structural theory’s idealization of the nomadic, the undecidable, and the profusion of simulacra. The other champions Marxist values which cast as the most significant contemporary art the rather slight oppositional devices of artists like Sherrie Levine, Hans Haacke, and Barbara Kruger. These critical idealizations then ignore what might be the central historical problem facing contemporary art. Can it continue to elaborate new dimensions of that late fifties postmodernism which set the values of Marcel Duchamp, John Cage, and Robert Rauschenberg against the increasingly formalist versions of modernism that then dominated the art world and the poetry workshops? Or does the age demand the emergence of a new sensibility, strands of which are being woven in post-structuralist mills? Charles Altieri is professor of English and comparative literature at the University of Washington. Author of books on contemporary poetry and literary theory, he has just completed a book on abstraction in modern poetry and painting. This essay lays some groundwork for a book, Bourgeois Utopians, attempt to keep the arts central to our discussion of postmodernism. (shrink)

This article discusses listening that is appropriate to sound art and the associated changes in the paradigms, or thought patterns, that occur so often when we move from visual to aural perception. The distinction between historically accepted and rejected sounds is used to show how putting sounds in cages has fashioned a form of listening and of life. Twentieth-century experimental music and, especially, the music and the reflections of John Cage have opened these cages of sound and at (...) the same time weakened the visual paradigm for intellectual knowledge. This article examines sound art as a place where artistic practices coincide with certain theoretical issues centered on sound. The centrality of sound is approached first, and music and sound art are discussed in relation to space. Second, the attention to sound in the reception of prominent examples of sound art focuses on site-specific relationships with the city and with listening. The article concludes by affirming the need for an aesthetic reflection that takes into consideration the implications of these profound transformations. However, that is another cage yet to be opened. (shrink)

This Element introduces the notion of curatorial composing to account for certain musical practices that emerged from the 1960s as the founding concepts of music as an art - instituted in the modern era - were systematically dismantled. It raises the key question of how musical value and authority might be produced without recourse to an external principle, origin, transcendental framework, or other foundation. It argues that these practices do not dismiss the issue of value or simply relativise it but (...) shift the paradigm to a curatorial concern for composing public encounters and staging events. The Element shows that Lydia Goehr's elaboration of the work-concept provides a framework that was transformed by John Cage in his work from 0'00" (1962) onwards. The Element then introduces Heiner Goebbels' practice and focus on his role as Artistic Director of the Ruhrtriennale (2012-14), which it argues was an extension of his curatorial composing. (shrink)

The esteemed psychologist and thinker John Dewey headed for previously unexplored philosophical territory with this influential work. Written shortly after World War I, it embodies Dewey's system of pragmatic humanism and maintains that individuals can attain "a more ordered and intelligent happiness" by reconsidering the ultimate effects of their deepest beliefs and feelings. With its promise of achieving an understanding of the past and attaining a brighter future, Reconstruction in Philosophy remains ever relevant. "A modern classic." — Philosophy and (...) Phenomenological Research. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 7.1 (2002) 147-153 [Access article in PDF] Book Review Rattling the Cage: Toward Legal Rights for Animals Rattling the Cage: Toward Legal Rights for Animals Steven M. Wise. Foreward by Jane Goodall. Cambridge, Mass.: Perseus Books, 2000. pp. 384. US $17.50. ISBN 0-7382-0437-4 (Paperback) "Ancient philosophers claimed that all nonhuman animals had been designed and placed on this earth just for human beings. (...) Ancient jurists declared that law had been created just for human beings. Although philosophy and science have long since recanted, the law has not." Steven M. Wise, Rattling the Cage, p. 4. Readers of this journal are well-versed in the myriad ways in which nonhuman animals are harmfully exploited at the hands of human beings—from battery hens and veal calves to mass-produced pigs; from Pennsylvania pigeon shoots to canned hunts on Texas ranches; from rodeos to roadside zoos; from LD-50 toxicity tests on rats and Draize eye tests on rabbits to head trauma and infectious disease experimentation on primates. Despite other sticking points, it is by now uncontroversial among [End Page 147] nonanthropocentric theorists that, in utilitarian terms, the benefits to humans of the above practices fall far short of justifying the harms they cause to their nonhuman victims or, in deontological terms, that they violate the rights of creatures with inherent value. Indeed, these arguments are so well-rehearsed and so widely regarded as compelling that it no longer seems particularly bold to predict that if reason ever prevails over tradition and prejudice, the future will look back on this generation's treatment of our fellow creatures with the same kind of shame and condemnation with which European Americans regard our slaveholding past.More sobering but equally familiar is the observation that decisive arguments for the gross immorality of existing practices will bring about neither their elimination nor significant reform as long as the presumed legitimacy of human exploitation of nonhuman beings remains entrenched in both popular consciousness and economic, political, and legal institutions. In the interests of chipping away at popular apathy, academics should no doubt go on repeating the well-worn arguments against speciesism in classrooms, popular venues, and professional research. But in a world structured far more directly by the interests of a powerful few than by the values of the many, this consciousness-raising strategy properly plays at most a supporting role to the even more vital project of challenging and ultimately restructuring the institutions that sanction and carry out these injustices. In short, what nonhuman animals need from ethically sensitive intellectuals is not just rational argument, but effective legal and political action.One of the main institutional obstacles to progress in this area is undoubtedly the legal relegation of animals to property status—which is why Steve M. Wise's Rattling the Cage: Toward Legal Rights for Animals is such an important book. Wise teaches animal rights law at Harvard, Vermont, and John Marshall Law Schools and has spent more than twenty years fighting for animals in the legal system; his book displays the bittersweet fruit of that experience. The tenor throughout is a mixture of conviction in the justice of his cause—which cannot but sustain a vision of its eventual success—together with the frustration and determined patience borne from decades of butting up against an utterly implacable wall. An eloquent foreword by Jane Goodall, together with Wise's own harrowing first chapter, describe the nightmarish existences imposed on our nearest nonhuman relatives, the chimpanzees and bonobos, for the sake of science, entertainment, and profit—nightmares enabled by a legal system that [End Page 148] treats all nonhumans as mere things. An engaging storyteller with a synthetic conception of the history of ideas, Wise unearths the origins of this conception of animals in the Great Chain of Being, demonstrates its defeat by Darwinian science, and builds piece by piece a case—drawing heavily on research into animal consciousness—for extending legal rights at least to chimpanzees and bonobos.The substantive theses of this case are, first, that the denial of... (shrink)

With precision and profundity born of 30 years of devoted study, John Boyle offers an essential introduction to St. Thomas Aquinas on Scripture, shedding helpful light on the goals, methods, and commitments that animate the Angelic Doctor's engagement with the sacred page. Because the genius of St. Thomas's approach to the Bible lies not so much in its novelty but rather in the fidelity and clarity with which he recapitulates the riches of the preceding interpretive Tradition, this initiation into (...) St. Thomas's vision of Scripture is itself an orientation to the Church's vision of Scripture, from the Fathers through and beyond the Middle Ages. St. Thomas's embeddedness within the Church's Tradition and his own historical context is integral to his approach to Scripture, yet it sets him at some distance from modern readers, for whom his interpretive vision may seem perplexing or even impenetrable. In this Primer, Boyle first provides an acclimation to this medieval context through a survey and explanation of pertinent technical terminology used by St. Thomas and characteristic of the scholastic theology of the time. With an eye to the medieval practice of considering Scripture according to the fourfold division of causes, Boyle builds on this initial foundation by exploring in turn St. Thomas's accounts of the end or use of Scripture (final cause), its divine and human authorship (efficient cause), its order and division (material cause), and its literary styles or genres (formal cause). Drawing on writings from across St. Thomas's corpus, but especially his work On the Commendation and Division of Sacred Scripture and the prologues to his biblical commentaries, Boyle masterfully elucidates both the hermeneutical principles and deep wisdom of the Angelic Doctor's approach to Scripture, imparting invaluable guidance not only for reading and understanding St. Thomas and other great masters of the Tradition, but also-and ultimately-for understanding Scripture in light of this Tradition and reading it with greater benefit and joy. (shrink)

Despite recurring efforts, a gap exists across a variety of contexts between the protection of patients' safety in theory and in practice. This timely Research Handbook highlights these critical issues and suggests both legal and policy changes are necessary to better protect patients' safety. Multidisciplinary in nature, this Research Handbook features contributions from eminent academics, policy makers and medical practitioners from the Global North and South, discussing the essential facets concerning patient safety and the law. It highlights how the role (...) of legislation and case law has the potential to influence, both positively and negatively, medical practice and the quality of care. Chapters explore patient safety and the global health agenda; physiotherapy; 'non-therapeutic' clinical research with children; patient safety awareness in healthcare education; and the increasing use of robotics and artificial intelligence in healthcare. Outlining a wide range of international perspectives on patient safety and the law, this Research Handbook will appeal to academics and researchers specialising in health and medical law, human rights and healthcare regulation. It will also serve as a valuable resource for legal and medical practitioners alike, as well as clinicians and professionals working in healthcare governance. (shrink)