Scouting for Boys is the original blueprint and 'self-instructor' of the Boy Scout Movement. An all-time bestseller, it is both a handbook and a philosophy for a way of living that replaces self with service, puts country before individual, and duty above all. As well as practical instructions on how to light fires and stalk men and animals, it includes sections on chivalry, self-discipline, self-improvement and citizenship. This new edition reveals its maverick complexity and explores its contradictions about sexuality, the (...) environment, and the empire. (shrink)

Introduction -- Is the truth stranger than fiction? -- The emergence and analysis of the postmodern -- Baudrillard and his works on social theory -- An assessment of postmodernism and Baudrillard -- Conclusion.

Abstract In this paper, I pursue an interpretive goal and a critical goal. My interpretive goal is to offer a clear restatement of Nagel's argument for a requirement of altruism (as found in The Possibility of Altruism). My critical goal is to explain why this argument is unsuccessful, and to make a case for the thesis that any argument of its kind must fail.

Social Theory, Performativity and Professional Power—A Critical Analysis of Helping Professions in England Drawing from interviews and ethnographic research, evidence is provided to suggest a sense of "anxiety" and "regret" amongst state social workers and case managers working on the "front-line" within local authority social service departments. There have been a number of theoretical approaches that have attempted to ground the concept of "power" to understand organizational practice though Foucauldian insights have been most captivating in illuminating power relations and subject (...) positioning. In order to theoretically interrogate the relationship between social theory and professional power, we draw from the neo-Foucauldian work of American Social Philosopher Judith Butler—especially regarding Butler's (1990, 1993 and 1998) powerful work on "performativity" and its relationship to social work. We also attempt to examine the "distances" between the social work role and social workers narratives through an examination of notions of "anxiety" and "regret" in the face of the professionalisation of state social work. (shrink)

"Trust" and Professional Power: Towards a Social Theory of Self This paper sets out to delve into the relationship trust and professional authority in the context of health care. Understood in its micro-political terms and conceived as impacting on individualorganisational levels and the socio-political; this relationship stands at the interface of competingpressures working to produce the increasing complexity of social life. “Trust” is inextricably linked withuncertainty and complexity while professional authority rests on the specialist knowledge claimed bythe range of experts (...) and technologists that inhabit the spaces through which social life is governed andcomplexity managed. (shrink)

El autor afirma que la ciencia y la tecnología son hoy dos poderosas instituciones sociales y culturales internacionales que apuntan a producir conocimiento universalmente válido y productos para el consumo mundial. A partir de esto, se interroga sobre el supuesto de que lo cultural es una esfera separada y secundaria, meramente superestructural. Y postula que la cultura es el ámbito en que se producen las ideas por las que regimos nuestras vidas y que ellas penetran la ciencia. Dado el carácter (...) cultural de la ciencia, permite plantear que llegar a ser científicamente desarrollados podría no necesariamente significar volverse como Europa y/o los Estados Unidos. Tras ello se pregunta por las características que debiera tener la tecnología en América Latina. (shrink)

Steven Pinker has said that one of the most important questions humans can ask of themselves is whether moral progress has occurred or is likely to occur. Buchanan and Powell here address that question, in order to provide the first naturalistic, empirically-informed and analytically sophisticated theory of moral progress--explaining the capacities in the human brain that allow for it, the role of the environment, and how contingent and fragile moral progress can be.

The advent of ChatGPT by OpenAI has prompted extensive discourse on its potential implications for science and higher education. While the impact on education has been a primary focus, there is limited empirical research on the effects of large language models (LLMs) and LLM-based chatbots on science and scientific practice. To investigate this further, we conducted a Delphi study involving 72 researchers specializing in AI and digitization. The study focused on applications and limitations of LLMs, their effects on the science (...) system, ethical and legal considerations, and the required competencies for their effective use. Our findings highlight the transformative potential of LLMs in science, particularly in administrative, creative, and analytical tasks. However, risks related to bias, misinformation, and quality assurance need to be addressed through proactive regulation and science education. This research contributes to informed discussions on the impact of generative AI in science and helps identify areas for future action. (shrink)

The Impassioned Life argues that theology's task today is to rethink the nature of the emotions and their relation to human reason. Such rethinking is necessary because the Christian tradition feels ambivalently about the emotions. Armed with a commitment to body-soul dualism, many writers have equated the image of God with rationality and wondered whether emotion is an essential feature of human nature; however, the tradition has also affirmed the value of emotions such as love and compassion and has sometimes (...) asserted the value of so-called negative emotions such as anger. The question, then, is whether the tradition's pastoral insight into the importance of moderation and control of the emotions requires us to think dualistically about soul (identified with reason) and body (the seat of emotions). To answer this question, The Impassioned Life explores the vital resources of the Christian theological tradition and also of contemporary scientific and psychological research in order to achieve a more adequate theological understanding of the emotions and reason. At heart, it offers a holistic, integrated vision of the Christian life lived passionately in its full range of human feeling as life in the Spirit. (shrink)

Ethical lapses associated with the first facial transplant included breaches of confidentiality, bending of research rules, and film deals. However, discussions of the risk-benefit ratio for face transplantation are often deficient in that they ignore the needs, experience, and decision-making capability of potential recipients.

In lieu of an abstract, here is a brief excerpt of the content:14 Feminist Studies 46, no. 1. © 2020 by Feminist Studies, Inc. Melissa Oliver-Powell Beyond the Spectacle of Suffering: Agnès Varda’s L’Unechante,l’autrepas and Rewriting the Subject of Abortion in France In the spring of 1971, three years after the revolutionary fervor of May 1968 in France, 343 women put their names to a courageous manifesto announcing that they were criminals of a particularly gendered nature. The authors of (...) Manifeste des 343 (Manifesto of the 343) comprised a large group of culturally eminent French women and activists declaring that they had all illegally undergone abortions, which at this point, despite growing decriminalization throughout much of Western Europe, were still outlawed within their republic. Though many of the revolutionary fires had now eased to embers, French feminists demonstrated that reproductive rights were still a vital and unresolved topic of social justice. Including names as weighty as Simone de Beauvoir, Jeanne Moreau, and Catherine Deneuve, the manifesto brought together exceptional women from the fields of academia, law, theater, film and literature, alongside grassroots activists. Their action was a bold challenge to the French authorities, daring them to arrest some of the country’s brightest thinkers and cultural innovators under a law the signatories felt was deeply unjust, sexist, and antithetical to the values of individual liberty and citizenship. It was a case of those with the broadest shoulders weaponizing their privilege to present a robust front line in the wider struggle for women’s rights. One of the signatories was filmmaker Agnès Varda. Her name, like those of several others on the list, demonstrates the symbiosis between Melissa Oliver-Powell 15 cultural production and gender politics that has often characterized French feminist thought. From the multidisciplinary writings of Beauvoir, to the novels of the écriture féminine movement, to the lyrical academic prose of Hélène Cixous, Luce Irigaray, Julia Kristeva, and others, French and Francophone feminist writers have tended to connect art and politics with a great deal of fluidity. As a committed activist and a filmmaker, Agnès Varda falls very much within this tradition, often adopting and developing feminist practices within her cinema. This article examines how Varda’s 1977 film, L’Une chante, l’autre pas (One Sings, The Other Doesn’t) interacts with and participates in the feminist political project of reproductive rights as well as the ongoing intellectual and moral debates over abortion taking place in France throughout the late 1960s and 1970s. I look particularly at the adversarial construction of abortion narratives within these debates and the location of victimhood therein. Within mainstream cultural representations in and beyond France, abortion is typically constructed as either a traumatic or a transgressive moment. The same is often true on either side of political and social debates on abortion, which have tended either to characterize the women who get abortions as irresponsible and amoral or as sympathetic victims in need of protection. Though the transgressive element persists, it is the interaction with representations of trauma that interests me here. In approaching discussions of gendered injustice, it is common for feminist writers and activists to leverage pathos as a rhetorical strategy. While suffering can be a highly effective and galvanizing expression of oppression, such discourses also run the risk of producing excessive depictions of victimhood, which can displace the capacity for action from the subject of hardship onto the privileged oppressor. This risk is particularly at stake within the cultural form of film, as its visuality and identificatory mechanics have the potential to spectacularize the female victim and make her relatable only through suffering. This was often the case in earlier French films that featured abortion such as Les Mauvaises rencontres (1955), Des gens sans importance (1956), Journal d’une femme en blanc (1965), and Une femme en blanc se révolte (1966), all of which made their subjects sympathetic by entwining them in long narratives of victimization ending in death or disgrace. This article looks at how Varda’s L’Une chante, l’autre pas disengages from the spectacle of suffering that so often characterizes representations of women’s experiences 16 Melissa Oliver-Powell and rejects the idea that abortion narratives must... (shrink)

I have vigorously absorbed the negative element of the age in which I live, an age that is, of course, very close to me, which I have no right ever to fight against, but as it were a right to represent. The slight amount of the positive, and also of the extreme negative, which capsizes into the positive, are something in which I have had no hereditary share. I have not been guided into life by the hand of Christianity – (...) admittedly now slack and failing – as Kierkegaard was, and have not caught the hem of the Jewish prayer shawl – now flying away from us – as the Zionists have. I am an end or a beginning.1. (shrink)

Synthetic biology is an increasingly high‐profile area of research that can be understood as encompassing three broad approaches towards the synthesis of living systems: DNA‐based device construction, genome‐driven cell engineering and protocell creation. Each approach is characterized by different aims, methods and constructs, in addition to a range of positions on intellectual property and regulatory regimes. We identify subtle but important differences between the schools in relation to their treatments of genetic determinism, cellular context and complexity. These distinctions tie into (...) two broader issues that define synthetic biology: the relationships between biology and engineering, and between synthesis and analysis. These themes also illuminate synthetic biology's connections to genetic and other forms of biological engineering, as well as to systems biology. We suggest that all these knowledge‐making distinctions in synthetic biology raise fundamental questions about the nature of biological investigation and its relationship to the construction of biological components and systems. BioEssays 30:57–65, 2008. © 2007 Wiley Periodicals, Inc. (shrink)

Synthetic biology is an increasingly high-profile area of research that can be understood as encompassing three broad approaches towards the synthesis of living systems: DNA-based device construction, genome-driven cell engineering and protocell creation. Each approach is characterized by different aims, methods and constructs, in addition to a range of positions on intellectual property and regulatory regimes. We identify subtle but important differences between the schools in relation to their treatments of genetic determinism, cellular context and complexity. These distinctions tie into (...) two broader issues that define synthetic biology: the relationships between biology and engineering, and between synthesis and analysis. These themes also illuminate synthetic biology's connections to genetic and other forms of biological engineering, as well as to systems biology. We suggest that all these knowledge-making distinctions in synthetic biology raise fundamental questions about the nature of biological investigation and its relationship to the construction of biological components and systems. (shrink)

Teoriju anticke komedije Hegel neprestano razvija tokom svoje akademske karijere, od ranog spisa o prirodnom pravu, preko Fenomenologije duha do svojih berlinskih predavanja iz estetike. Hegel uvek razmatra komediju u bliskoj vezi sa svojom teorijom tragedije, te otuda u kontekstu politickih, religioznih i filozofsko-istorijskih odredjenja. Imajuci to u vidu, ovaj rad istrazuje Hegelov pojam dramskog zanra komedije u odnosu na duhovno-filozofske kategorije obicajnosti i supstancijalnosti kao kraja klasicne umetnosti i ujedno nastanka moderne subjektivnosti u njenom slobodnom samoodnosenju. Centralno pitanje je, (...) na koji nacin se razvijanje apsolutnog duha reflektuje u domenu estetskog na razvijanje objektivnog duha u sferi drzave i drustva, kao sto je, recimo, u grckoj komediji dovedena do svesti buduca propast svetsko-obicajnog statusa polisa. Samo razvijanje Hegelove filozofije umetnosti, od ranih spisa do zrelog filozofskog sistema, daje nam mogucnost da uvidimo estetsku formu komedije kao jednog vanrednog oblika umetnosti kao i da razmotrimo duhovno-filozofske linije rascepa moderne. (shrink)

Teoriju anticke komedije Hegel neprestano razvija tokom svoje akademske karijere, od ranog spisa o prirodnom pravu, preko Fenomenologije duha do svojih berlinskih predavanja iz estetike. Hegel uvek razmatra komediju u bliskoj vezi sa svojom teorijom tragedije, te otuda u kontekstu politickih, religioznih i filozofsko-istorijskih odredjenja. Imajuci to u vidu, ovaj rad istrazuje Hegelov pojam dramskog zanra komedije u odnosu na duhovno-filozofske kategorije obicajnosti i supstancijalnosti kao kraja klasicne umetnosti i ujedno nastanka moderne subjektivnosti u njenom slobodnom samoodnosenju. Centralno pitanje je, (...) na koji nacin se razvijanje apsolutnog duha reflektuje u domenu estetskog na razvijanje objektivnog duha u sferi drzave i drustva, kao sto je, recimo, u grckoj komediji dovedena do svesti buduca propast svetsko-obicajnog statusa polisa. Samo razvijanje Hegelove filozofije umetnosti, od ranih spisa do zrelog filozofskog sistema, daje nam mogucnost da uvidimo estetsku formu komedije kao jednog vanrednog oblika umetnosti kao i da razmotrimo duhovno-filozofske linije rascepa moderne. (shrink)