This article shows that the relationship between Simone de Beauvoir's novel, Le Sang des autres (The Blood of Others), first published in 1945, and her essay, Pour une morale de l'ambiguïté (The Ethics of Ambiguity), first published in 1947, illustrates her point in "Littérature et métaphysique" that an abstract philosophical theory is grounded in immediate metaphysical experience. An original ethical position emerges from Hélène Bertrand's lived experience in the novel, which anticipates feminist issues addressed in The Second Sex (...) more directly than does Beauvoir's essay. (shrink)

This article shows that the relationship between Simone de Beauvoir's novel, Le Sang des autres, first published in 1945, and her essay, Pour une morale de l'ambiguïté, first published in 1947, illustrates her point in “Littérature et métaphysique” that an abstract philosophical theory is grounded in immediate metaphysical experience. An original ethical position emerges from Hélène Bertrand's lived experience in the novel, which anticipates feminist issues addressed in The Second Sex more directly than does Beauvoir's essay.

This article shows that the relationship between Simone de Beauvoir's novel, Le Sang des autres, first published in 1945, and her essay, Pour une morale de l'ambiguïté, first published in 1947, illustrates her point in "Littérature et métaphysique" that an abstract philosophical theory is grounded in immediate metaphysical experience. An original ethical position emerges from Hélène Bertrand's lived experience in the novel, which anticipates feminist issues addressed in The Second Sex more directly than does Beauvoir's essay.

This article shows that the relationship between Simone de Beauvoir's novel, Le Sang des autres, first published in 1945, and her essay, Pour une morale de l'ambiguïté, first published in 1947, illustrates her point in “Littérature et métaphysique” that an abstract philosophical theory is grounded in immediate metaphysical experience. An original ethical position emerges from Hélène Bertrand's lived experience in the novel, which anticipates feminist issues addressed in The Second Sex more directly than does Beauvoir's essay.

The Blood of Others begins at the bedside of a mortally wounded Résistance fighter named Hélène Bertrand. We encounter her from the point of view of Jean Blomart, her friend and lover, who recounts the story of their relationship : their first meeting, unhappy romance, bitter breakup, and eventual reunion as fellow fighters for the liberation of occupied France. The novel invites the reader to interpret Hélène and Jean’s story as one of positive ethical development. On this progressive (...) reading, although both characters are initially mired in bad faith and ethical irresponsibility, they ultimately transform themselves into ethically exemplary figures. Through their participation in violent political resistance against the occupation, they recognize their responsibility to humanity and actualize that responsibility in the form of positive political engagement. I will argue, on the contrary, that Jean and Hélène exhibit a unique form of bad faith that Beauvoir identifies in The Ethics of Ambiguity, a dangerous form of bad faith, distinct from the Sartrean conception, that promotes the indiscriminate use of violence for political ends. (shrink)

Insisting on the status of money as a creature of both the market and the state, this article challenges dualistic understandings of capitalist imperialism as entailing two fundamentally distinct logics, one capitalist, the other territorial. In opposition to the dual-logics position, the article argues for the distinctiveness of capitalist money in terms of a complex butunitarysocio-economic logic. The social dynamism of this logic involves the spatial-territorial extension of the domain of modern value relations, embodied in fully-capitalist money. Departing from the (...) development of coinage in ancient Greece, the article proceeds to identify the 1690s in Britain as the decisive moment in the emergence of a new and distinctively capitalist form of (world) money, institutionally based upon the Bank of England, in which state debt was thoroughly integrated with private financial markets. The crucial role of the Bank of England in this new monetary system is shown to have pivoted on its capacities to finance Britain’s inter-colonial wars. Colonialism, war, slavery and dispossession underline the omnipresence of ‘blood and dirt’ (Marx) in the development and reproduction of capitalist impersonal power as expressed in world money. Undoing the impersonal power characteristic of bourgeois money thus entails undoing the economic dispossession of the labouring poor, which forms the basis of their ‘possession’ by capital. (shrink)

Jehovah's Witnesses' (JWs) refusal of blood transfusions has recently gained support in the medical community because of the growing popularity of "no-blood" treatment. Many physicians, particularly so-called "sympathetic doctors", are establishing a close relationship with this religious organization. On the other hand, it is little known that this blood doctrine is being strongly criticized by reform-minded current and former JWs who have expressed conscientious dissent from the organization. Their arguments reveal religious practices that conflict with many physicians' (...) moral standards. They also suggest that a certain segment of "regular" or orthodox JWs may have different attitudes towards the blood doctrine. The author considers these viewpoints and argues that there are ethical flaws in the blood doctrine, and that the medical community should reconsider its supportive position. The usual physician assumption that JWs are acting autonomously and uniformly in refusing blood is seriously questioned. (shrink)

In the article, I examine Hélène Cixous's play La Ville parjure ou le Réveil des Erinyes as a political contribution to the debate over memory and justice. The focus is on the question of how the telling of a story of atrocities may be therapeutic to both the victim and to society. I stress Cixous's alternative way of addressing justice: through forgiveness instead of criminal prosecution or other forms of retribution or reconciliation. Referring to Jacques Derrida's work, the main argument (...) revolves around the question of whether forgiveness for unspeakable crimes should be unconditional or conditional. Instead of seeing Cixous's play as an unequivocal stance on restorative justice in general, and on conditional forgiveness in particular, I stress that the main protagonist, the Mother, is not willing to forgive the crime itself because of its unforgivable nature. (shrink)

In this paper I first address what I consider a central issue in the account of perception in Plato’s Timaeus, namely, how the pathemata pass through the body to reach the soul, and thus become aistheseis. My point in Section 1 is that in tackling this issue Plato aims to provide a firm physiological basis to the notion of perception that starts to emerge in the Theaetetus and the Philebus and is crucial to the late development of his theory of (...) cognition. In the ensuing section I try to put the account of perception in the Timaeus into a historical perspective, aiming to highlight two points: a) Plato’s description of the way in which sensible impressions “travel” inside the body and interact with its parts and other constituents is largely indebted to previous theories, such as those we find, for example, in Empedocles and a few Hippocratic writers; b) The leading role in this story (where internal air plays a significant supporting role) is played by blood flowing through the vascular system and thus performing a crucial cognitive function. Moreover, emphasizing the role of blood as well as analyzing the elaborate way in which perceptions are transmitted through the body to the soul proves vital to appreciate (in Section 3) the cognitive status of the lower parts of the soul (which are more involved in perception) and their relation to reason. Overall, the paper adds further elements to our understanding of Plato’s embodied approach to cognition. I had already written (and submitted) this article when Johansen (2021) was published. The latter’s approach to the role of blood in Plato’s physiology of knowledge in the Timaeus converges in part with mine (as I was pleased to find out), partly due to our overlapping sources and bibliography. (shrink)

The human blood coagulation system comprises a series of linked glycoproteins that upon activation induce the generation of downstream enzymes ultimately forming fibrin. This process is primarily important to arrest bleeding (hemostasis). Hemostasis is a typical example of a molecular machine, where the assembly of substrates, enzymes, protein cofactors and calcium ions on a phospholipid surface markedly accelerates the rate of coagulation. Excess, pathological, coagulation activity occurs in “thrombosis”, the formation of an intravascular clot, which in the most dramatic (...) form precipitates in the microvasculature as disseminated intravascular coagulation. Thrombosis occurs according to a biochemical machine model in the case of atherothrombosis on a ruptured atherosclerotic plaque, but may develop at a slower rate in venous thrombosis, illustrating that the coagulation machinery can act at different velocities. The separate coagulation enzymes are also important in other biological processes, including inflammation for which the rapid conversion of one coagulation factor by the other is not a prerequisite. The latter role of coagulation enzymes may be related to the old and probably maintained function of the coagulation machine in innate immunity. BioEssays 25:1220–1228, 2003. © 2003 Wiley Perioicals, Inc. (shrink)

"With provocations on every page, this book is a philosophical feast. The specialist will find familiar ingredients assembled here in a perspicuous and compelling way, while the nonspecialist will discover a Husserl whose philosophy is made of flesh and blood." —Journal of the History of Philosophy In this thorough study of the full body of his writings, Donn Welton uncovers a Husserl very different from the established view. Arguing against established interpretations, The Other Husserl traces Husserl’s move from static (...) to genetic phenomenology and uses accounts of perception, discourse, subjectivity, and world to elaborate the scope of his systematic phenomenology. This serious reflection on the meaning of phenomenology is the first book in English to outline in full Husserl’s phenomenological method and to argue for its cogency. Welton’s stimulating interpretation highlights Husserl’s relevance for current philosophical debates. (shrink)

The advances in treatment of HIV and the introduction of polymerase chain reaction assay for the virus now make it acceptable for HIV discordant couples where the male partner is seropositive to attempt to conceive through artificial insemination by husband (AIH) or via in vitro fertilisation. With undetectable viral load and washed sperm, there is minimal risk of transmission of HIV to the female partner, children, other patients, or staff. We describe the development of a programme of AIH for HIV (...) discordant couples and the reasoning behind offering such a programme. (shrink)

The World Health Organisation encourages that blood donation becomes voluntary and unremunerated, a system already operated in the UK. Drawing on public documents and videos, this paper argues that blood donation is regarded and presented as altruistic and supererogatory. In advertisements, donation is presented as something undertaken for the benefit of others, a matter attracting considerable gratitude from recipients and the collecting organisation. It is argued that regarding blood donation as an act of supererogation is wrongheaded, (...) and an alternative account of blood donation as moral obligation is presented. Two arguments are offered in support of this position. First, the principle of beneficence, understood in a broad consequentialist framework obliges donation where the benefit to the recipient is large and the cost to the donor relatively small. This argument can be applied, with differing levels of normativity, to various acts of donation. Second, the wrongness of free riding requires individuals to contribute to collective systems from which they benefit. Alone and in combination these arguments present moral reasons for donation, recognised in communication strategies elsewhere. Research is required to evaluate the potential effects on donation of a campaign which presents blood donation as moral obligation, but of wider importance is the recognition that other-regarding considerations in relation to our own as well as others’ health result in a range not only of choices but also of obligations. (shrink)

This article draws attention to the ethical complexity researchers may be confronted with during fieldwork should an adult participant with intellectual disabilities disclose that harm or an illegal activity is occurring or has occurred in the past. The need to gain ethical approval and the positioning of people with intellectual disabilities as vulnerable within ethics review procedures can result in the adoption of paternalistic approaches as researchers are encouraged to break confidentiality to report concerns to other professionals. Whilst this may (...) fulfil a researcher’s duty to ensure no harm occurs to participants, if it takes place against the participant’s wishes it may also violate participant autonomy, reinforce unequal relations of power, and may unwittingly contribute to subsequent harm occurring. Whilst the article begins from our experience as two UK-based researchers working with people with intellectual disabilities, it draws on existing literature and guidelines to expose the ethical tensions which may be encountered. It is intended that the paper acts as a starting point for researchers wishing to reflect on their practice and ethical decision-making, whilst contributing to wider debates on the position of people with intellectual disabilities within society. (shrink)

The following article analyzes two novels, published recently by a new, powerful voice in Irish fiction, Lisa McInerney: her critically acclaimed debut The Glorious Heresies (2015) and its continuation The Blood Miracles (2017). McInerney’s works can be distinguished by the crucial qualities of the Irish Noir genre. The Glorious Heresies and The Blood Miracles are presented from the perspective of a middle-aged “right-rogue” heroine, Maureen Phelan. Due to her violent and law-breaking revenge activities, such as burning down the (...) institutions signifying Irishwomen’s oppression (i.e. the church and a former brothel) and committing an involuntary murder, Maureen remains a multi-dimensional rogue character, not easily definable or even identifiable. The focal character’s narrative operates around the abuse of unmarried, young Irish mothers of previous generations who were coerced to give up their “illegitimate” children for adoption and led a solitary existence away from them. The article examines other “options” available to “fallen women” (especially unmarried mothers) in Ireland in the mid-twenty century, such as the Magdalene Laundries based on female slave work, and sending children born “out of wedlock” abroad, or to Mother and Baby Homes with high death-rates. Maureen’s rage and her need for retaliation speak for Irish women who, due to the Church-governed moral code, were held in contempt both by their families and religious authorities. As a representative of the Irish noir genre, McInerney’s fiction depicts the narrative of “rogue” Irish motherhood in a non-apologetic, ironic, irreverent and vengeful manner. (shrink)

BackgroundUmbilical cord banks are a central component, as umbilical cord tissue providers, in both medical treatment and scientific research with stem cells. But, whereas the creation of umbilical cord banks is seen as successful practice, it is perceived as a risky style of play by others. This article examines and discusses the ethical, medical and legal considerations that arise from the operation of umbilical cord banks in Mexico.DiscussionA number of experts have stated that the use of umbilical cord goes (...) beyond the mere utilization of human tissues for the purpose of treatment. This tissue is also used in research studies: genetic studies, studies to evaluate the effectiveness of new antibiotics, studies to identify new proteins, etc. Meanwhile, others claim that the law and other norms for the functioning of cord banks are not consistent and are poorly defined. Some of these critics point out that the confidentiality of donor information is handled differently in different places. The fact that private cord banks offer their services as "biological insurance" in order to obtain informed consent by promising the parents that the tissue that will be stored insures the health of their child in the future raises the issue of whether the consent is freely given or given under coercion. Another consideration that must be made in relation to privately owned cord banks has to do with the ownership of the stored umbilical cord.SummaryConflicts between moral principles and economic interests (non-moral principles) cause dilemmas in the clinical practice of umbilical cord blood storage and use especially in privately owned banks. This article presents a reflection and some of the guidelines that must be followed by umbilical cord banks in order to deal with these conflicts. This reflection is based on the fundamental notions of ethics and public health and seeks to be a contribution towards the improvement of umbilical cord banks' performance. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE BODY AND THE BLOOD: SACRIFICIAL EXPULSION IN A UREVOIR LES ENFANTS Diana Culbertson Kent State University In Scene 6 ofthe screenplay ofAu Revoir Les Enfants the students are at morning Mass and Father Jean is reading the Gospel: "Truly, truly, I say unto you, unless you eat the flesh ofthe Son ofMan and drink his blood, you will have no life in you." A student with (...) the curiously ironic name of Boulanger ("baker") faints. François comments to his younger brother Julien, "There's nothing to eat... we can't have breakfast before communion." In the back of chapel sit three new students—Bonnet and two other Jewish boys disguised as Christians, protected from the Gestapo by the monks, but prohibited because of their religious identity from Eucharistie communion. Food as scarcity, as plenitude, and as life functions as the signifier ofvalue and of every victim in Louis Malle's unforgettable portrayal of the loss of innocence in the occupied France ofhis childhood. Access to food was access to life in community—both religious and political—and the exchange offood, for what could not be consumed, plunges the small school society into its death. The cause ofthe dissolution of the school society is a failed sacrifice. The farewell to childhood which the title ofthe film suggests is Julien's entry into the world ofviolence and victims, ofmimetic rivalry, ofsacrificial expulsion, and societal destruction. The angle ofperception (Julien Quentin is Malle's quasi-autobiographical alter-ego) lures viewers out their own innocence and shocks theater audiences once again with the implications of all Final Solutions. Three concentric levels identify the communities in dissolution represented in Malle's portrayal: France under the occupying military force, the school administrators and staff, and the pupils in their charge. At each level the Diana Culbertson47 mimetic conflict is at a different state ofsocietal crisis. At the highest level, the German occupation troops and their collaborators represent a moment of Violence Triumphant, a Monstrous divinity who can impose control over the group by terrorizing everyone. This persecutory violence, which has co-opted the judicial system, drives the community of French people into (at least outward) submission and passivity. When the Monster requires victims, the community must consent to offer them. The persecutor's need for victims in this film has its own demonic rationale: "... to rid France of strangers, of Jews," says Müller, the Gestapo officer in one of the final scenes. When persecutory violence is resisted, however, when someone refuses to offer the designatedvictim for expulsion, the unity ofthe submissive society dissolves. Those who will not conform may suffer the violence of those who find their private well being in an alliance with public persecution. Father Jean, director ofthe school where Malle's scenario takes place, is one ofthe instruments ofresistance. Only the other instructors and staff are aware ofhis activities in the French underground. The audience is admitted to his dangerous secret, even as it observes the contrasting immaturity of the students, especially Julien, who cannot bear to leave his mother and is still wetting his bed. When he asks his older brother, "What is a Jew?" he is given the alimentary explanation: "Someone who doesn't eat pork." In this cultural situation, the Jew is more frequently someone who doesn't eat. Quentin's half truth is only one side ofa more ominous reality. Father Jean, aware of that reality, first appears in the film to introduce Bonnet, the "new classmate" and to show the boy his dormitory bed. As the director leaves, the schoolboys display their own societal dynamics, resuming their customary internecine, frenzied battles and rivalries. They throw pillows; they mock the outsider, focusing their ridicule on his name. Later in a classroom scene, they will hiss, "Dubo, Dubon, Dubonnet...."—an apt thematic detail with its allusion to wine and its liturgical translation into blood. In the morning Boulanger leads the attack against the stranger, slipping an icicle behind Bonnet's shirt collar. At recess games disintegrate into private quarrels. Their small brutal society is a microcosm of the larger world of which the schoolboys are apparently innocent but which they are grooming themselves to live in without remorse... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Books ReceivedThe Act of Being: The Philosophy of Revelation in Mullā Sadrā. By Christian Jambet. Brooklyn: Zone Books, 2006. Pp. 497. Hardcover $38.95.Analysis in Śaṅkara Vedānta: The Philosophy of Ganeswar Misra. Edited by Bijayananda Kar. New Delhi: Indian Council of Philosophical Research, 2006. Pp. xxv + 190. Hardcover Rs. 240.00.Bhakti and Philosophy. By R. Raj Singh. Lanham: Lexington Books, 2006. Pp. 112. Hardcover $65.00.Brahman and the Ethos of Organization. (...) By Leonard R. Silos. Paseo de Roxas: Asian Institute of Management, 2006. Pp. xix + 344. Price not given.Buddhist Inclusivism: Attitudes Towards Religious Others. By Kristin Beise Kiblinger. Burlington, VT: Ashgate Publishing Company, 2005. Pp. viii + 145. Hardcover $89.95.Classical Northern Wu Style Tai Ji Quan: The Fighting Art of the Manchurian Palace Guard. By Tina Chunna Zhang and Frank Allen. Berkeley: Blue Snake Books, 2006. Pp. xiii + 203. Paper $21.95.Classical Sāṃkhya and Yoga: An Indian Metaphysics of Experience. By Mikel Burley. London and New York: Routledge, 2007. Pp. xiv + 226. Price not given.Comparative Philosophy and Religion in Times of Terror. Edited by Douglas Allen. Lanham: Lexington Books, 2006. Pp. xiv + 257. Hardcover $62.00. Paper $32.00.Contemplative Science: Where Buddhism and Neuroscience Converge. By B. Alan Wallace. New York: Columbia University Press, 2007. Pp. vii + 211. Hardcover $29.50, £19.00.Contexts and Dialogue: Yogācāra Buddhism and Modern Psychology on the Subliminal Mind. By Tao Jiang. Honolulu: University of Hawai'i Press, 2006. Pp. xi + 198. Paper $20.00.Dialogue Transcultural. Edited by Yue Diayun et al. Nanjing: Jiangsu Peoples Press, 2006. Pp. 335. Price not given.Dōgen on Meditation and Thinking: A Reflection on His View of Zen. By Hee-Jin Kim. Albany: State University of New York Press, 2006. Pp. xiii + 169. Hardcover $65.50. Paper $21.95.The Garden of Loneliness: A Translation of Jayshankar Prasad's Āṅsū, "Tears." By Charles S. J. White. Delhi: Motilal Banarsidass, 2006. Pp. xv + 136. Hardcover Rs. 295. [End Page 608]The Happening of Tradition: Vallabha on Anumāna in Nyāyalīlāvatī. By Anna-Pya Sjödin. Stockholm: Elanders Gotab, 2006. Pp. 195. Price not given.Head, Eyes, Flesh, and Blood: Giving Away the Body in Indian Buddhist Literature. By Reiko Ohnuma. 2006. Pp. xvii + 372. Hardcover $45.00, £29.00.Hwa Yu T'ai Chi Ch'uan: Unlocking the Mysteries of the Five-Word Song. By Glenn D. Newth. Berkeley: Blue Snake Books, 2007. Pp. xiii + 160. U.S. $18.95. Can $24.95.A Jewish Philosopher of Baghdad: 'Izz al-Dawla Ibn Kammūna (d. 683/1284) and His Writings. By Reza Pourjavady and Sabine Schmidtke. Leiden and Boston: Brill, 2006. Pp. xii + 274. Hardcover $130.00, €100.Letting Be: Fred Dallmayr's Cosmopolitical Vision. Edited by Stephen F. Schneck. Notre Dame: University of Notre Dame Press, 2006. Pp. x + 382. Paper $35.00.Myth and the Existential Quest. By Vassilis Vitsaxis and translated by Deborah Brown Kazazis and Vassilis Vitsaxis. Boston: Somerset Hall Press, 2006. Pp. 301. Hardcover $49.95. Paper $39.95.Nietzsche-Buddha-Zarathustra: Eine West-Ost Konfiguration. By Michael Skowron. Daegu: Kyungpook National University Press, 2006. Pp. 293. Paper $18.00, Won 17,000.Popularizing Buddhism: Preaching as Performance in Sri Lanka. By Mahinda Deegalle. Albany: State University of New York Press, 2006. Pp. xiii + 241. Hardcover $65.00. Paper $21.95.Ramana Maharashi: The Sage of Arunachala. By Arvind Sharma. New Delhi: Penquin Group, 2006. Pp. 215. Hardcover Rs. 295.Readings in Han Chinese Thought. Edited and translated by Mark Csikszentmihalyi. Indianapolis and Cambridge: Hackett Publishing Company, 2006. Pp. xxx + 220. Hardcover $39.95. Paper $14.95.Religions of Korea in Practice. Edited by Robert E. Buswell Jr. Princeton and Oxford: Princeton University Press, 2007. Pp. xx + 542. Paper $24.95, £15.95.The Scripture on Great Peace: The Taiping jing and the Beginnings of Daoism. By Barbara Hendrischke. Berkeley: University of California Press, 2006. Pp. x + 410. Hardcover $60.00, £38.95.The Self 's Awareness of Itself: Bhaṭṭa Rāmakantha's Arguments against the Buddhist Doctrine of No-Self. By Alex Watson. Vienna: Sammlung de Nobili, 2006. Pp. 433. Price not given... (shrink)

The aim of this article is to develop a novel interpretation of the significance of trauma and substitution in Levinas’s ethical thinking in light of the problem of temporality, language, and the question of what it means to be a created being. With an emphasis on Levinas’s style of writing, the intersections of Derrida, Husserl, and Freud in his thinking, and the “two-times” of traumatic temporality, the argument of this article seeks to understand how responsibility for the other is crystallized (...) through the trauma of the Goodness and expiation for the impossibility of enduring its unforgiving demand. (shrink)

#ThisFlag movement was started by Pastor Evan Mawarire in April 2016 bemoaning the collapse of the Zimbabwean economy at the hands of the Zimbabwe African National Union-Patriotic Front (ZANU-PF) government under President Robert Mugabe. Although it started off as accidental, it, however, galvanised disparate groups and enabled them to transform anger against the state from online media to the streets. #ThisFlag movement officially started on the 20th of April 2016, when Pastor Mawarire wearing the Zimbabwean flag posted a video to (...) his Facebook page decrying the state of the economy and what he felt was government’s neglect of its duties to serve the citizens of Zimbabwe. Although one government minister described Mawarire’s actions as a ‘pastor’s fart in the corridors of power’, the reaction by the state security agents points to the contrary. Street protests have been banned. This article interrogates the transformation of #ThisFlag movement from an online struggle to street protests that have turned violent. It also looks at other movements that are complementing #ThisFlag and how the state is responding to these protests both on the social media and on the ground. Evan Mawarire may be considered as an unusual voice from the ever mushrooming new church establishments. As such, it becomes a point of interest to find out what voice there is, which represents what is commonly viewed as mainline churches. Such a voice is identified as coming from Bishop Raymond Mpandasekwa of the Roman Catholic Diocese of Chinhoyi who in one of his sermons delivered an acerbic attack on Mnangagwa’s government as a ‘blood thirsty’ government. The study explored the messages of Mawarire and Mpandasekwa using the socio-theological lenses as guided by Rawls’ theory of civil disobedience. Contribution: This study locates #ThisFlag activism in the context of toxic transformative politics in Zimbabwe. In addition, it contributes to our understanding of the relationship between religion and politics in an unstable political and economic setting. It calls for a re-thinking of the role of the church in Zimbabwean society and discusses the state’s response to those deemed to be not towing the line. It shows that while some religious organisations and groups are too keen to be co-opted by the regime, some have effectively resisted this and have become combative as they fight for people’s rights. Another important contribution is located in how these pastor-cum-activists have harnessed social media to amplify their voices and to reach huge audiences beyond the pulpit. The study is important because it contextualises the role of religion in the country’s contemporary politics, and this fits into the scope of the journal in that it is a multidisciplinary study of both religion and politics. (shrink)

This paper presents an overview of the dimensions of unsafe motherhood, contrasting data from economically developed countries with some from developing countries. It addresses many common factors that shape unsafe motherhood, identifying medical, health system and societal causes, including women's powerlessness over their reproductive lives in particular as a feature of their dependent status in general. Drawing on perceptions of Jonathan Mann, it focuses on public health dimensions of maternity risks, and equates the role of bioethics in conscientious medical care (...) to that of human rights in public health care. The microethics of medical care translate into the macroethics of public health, but the transition compels some compromise of personal autonomy, a key feature of Western bioethics, in favour of societal analysis. Religiously‐based morality is seen to have shaped laws that contribute to unsafe motherhood. Now reformed in former colonizing countries of Europe, many such laws remain in effect in countries that emerged from colonial domination. UN conferences have defined the concept of ‘reproductive health’ as one that supports women's reproductive self‐determination, but restrictive abortion laws and practices epitomize the unjust constraints to which many women remain subject, resulting in their unsafe motherhood. Pregnant women can be legally compelled to give the resources of their bodies to the support of others, while fathers are not legally compellable to provide, for instance, bone‐marrow or blood donations for their children's survival. Women's unjust legal, political, economic and social powerlessness explains much unsafe motherhood and maternal mortality and morbidity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Incoherence of Determining Death by Neurological Criteria: A Commentary on Controversies in the Determination of Death, A White Paper by the President’s Council on Bioethics*Franklin G. Miller** (bio) and Robert D. Truog (bio)Traditionally the cessation of breathing and heart beat has marked the passage from life to death. Shortly after death was determined, the body became a cold corpse, suitable for burial or cremation. Two technological changes in (...) the second half of the twentieth century prompted calls for a new, or at least expanded, definition of death: the development of intensive care medicine, especially the use of mechanical ventilators, and the advent of successful transplantation of vital organs. Patients with profound neurological damage, leaving them incapable of breathing on their own and in an irreversible coma, could be maintained for some period of time with the aid of mechanical ventilation. The situation of these patients posed two ethical questions. Is it appropriate to stop life-sustaining treatment? If so, is it acceptable to retrieve vital organs for transplantation to save the lives of others before stopping treatment?In 1968, the Ad Hoc Committee of the Harvard Medical School to Examine the Definition of Brain Death proposed that death could be determined on the basis of neurological criteria, thus providing a positive answer to these two questions (Ad Hoc Committee 1968). According to the position of this committee, patients diagnosed with the cessation of brain function are dead, despite the fact that they breathe and circulate blood with the aid of mechanical ventilation. [End Page 185] Because they are dead, it is appropriate, indeed imperative, to stop mechanical ventilation. And because they are dead, it becomes ethical to procure vital organs for transplantation before stopping what otherwise would be life-sustaining treatment. Remarkably, this innovative neurological determination of death became, with little debate or controversy, the established position in medical ethics and the law throughout the United States.The Harvard Committee articulated the diagnosis of “irreversible coma,” but merely asserted that this condition constituted death. No explanatory rationale was provided. It fell to the President’s Commission for the Study of Ethical Problems in Medicine and Biomedical and Behavioral Research to provide an authoritative rationale in its 1981 report, Defining Death. The second paragraph of the report set the stage as follows: “The question addressed here is not inherently difficult or complicated. Simply, it is whether the law ought to recognize new means for establishing that the death of a human being has occurred” (President’s Commission 1981, p. 3). The Commission claimed that “death is a unitary phenomenon” (p. 7) and that the determination of death by neurological criteria, in terms of the absence of all brain function, is consistent with the traditional conception of death as the cessation of vital functioning of the organism as a whole. The key issue is the integrative functioning of the human organism, which ceases to exist, according to the Commission, when the whole brain, including higher cortical areas and the brain stem, fails to function. Although “brain-dead” patients do not appear to be dead—i.e., the reality of their death is “masked” by the activity of mechanical ventilation—the patient’s body has irreversibly lost all capacity for integrative functioning. In the words of the Commission: “When artificial means of support mask this loss of integration as measured by the old methods [cessation of respiration and heart beat], brain-oriented criteria and tests provide a new window on the same phenomenon” (p. 33). The President’s Commission was instrumental in developing and establishing “The Uniform Definition of Death Act”: “An individual who has sustained either (1) irreversible cessation of circulatory and respiratory functions, or (2) irreversible cessation of all functions of the entire brain, including the brain stem, is dead” (p. 2).Although the question posed by the President’s Commission was easy to articulate, the answer, over time, has proved complicated and controversial. The coherence and cogency of determining death by neurological criteria has been challenged. Various experts have demonstrated that “brain-dead” patients maintained on mechanical ventilation display a range of vital, integrative, functioning, which conflicts with the judgment that they are dead (Truog and... (shrink)

Moloney, Francis J In 1996 the American sociologist, Rodney Stark, published a provocative sociological study called The Rise of Christianity. He wrote this book because his reading of the work of the historians of early Christianity showed that their history was good, but their sociology was nonexistent. He minimalised many theories about the rise of Christianity. Theologians and church historians regularly point to the transforming effect of the purity of the doctrine, the teaching of the resurrection, the blood of (...) the martyrs, a sacramental life, and other such central Christian beliefs and phenomena as the reasons for its rapid spread in the Roman Empire. Stark questions this, insisting that the fundamental motivation for the phenomenon was that the Christians cared for one another, especially their women. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Incoherence of Determining Death by Neurological Criteria: A Commentary on Controversies in the Determination of Death, A White Paper by the President’s Council on Bioethics*Franklin G. Miller** (bio) and Robert D. Truog (bio)Traditionally the cessation of breathing and heart beat has marked the passage from life to death. Shortly after death was determined, the body became a cold corpse, suitable for burial or cremation. Two technological changes in (...) the second half of the twentieth century prompted calls for a new, or at least expanded, definition of death: the development of intensive care medicine, especially the use of mechanical ventilators, and the advent of successful transplantation of vital organs. Patients with profound neurological damage, leaving them incapable of breathing on their own and in an irreversible coma, could be maintained for some period of time with the aid of mechanical ventilation. The situation of these patients posed two ethical questions. Is it appropriate to stop life-sustaining treatment? If so, is it acceptable to retrieve vital organs for transplantation to save the lives of others before stopping treatment?In 1968, the Ad Hoc Committee of the Harvard Medical School to Examine the Definition of Brain Death proposed that death could be determined on the basis of neurological criteria, thus providing a positive answer to these two questions (Ad Hoc Committee 1968). According to the position of this committee, patients diagnosed with the cessation of brain function are dead, despite the fact that they breathe and circulate blood with the aid of mechanical ventilation. [End Page 185] Because they are dead, it is appropriate, indeed imperative, to stop mechanical ventilation. And because they are dead, it becomes ethical to procure vital organs for transplantation before stopping what otherwise would be life-sustaining treatment. Remarkably, this innovative neurological determination of death became, with little debate or controversy, the established position in medical ethics and the law throughout the United States.The Harvard Committee articulated the diagnosis of “irreversible coma,” but merely asserted that this condition constituted death. No explanatory rationale was provided. It fell to the President’s Commission for the Study of Ethical Problems in Medicine and Biomedical and Behavioral Research to provide an authoritative rationale in its 1981 report, Defining Death. The second paragraph of the report set the stage as follows: “The question addressed here is not inherently difficult or complicated. Simply, it is whether the law ought to recognize new means for establishing that the death of a human being has occurred” (President’s Commission 1981, p. 3). The Commission claimed that “death is a unitary phenomenon” (p. 7) and that the determination of death by neurological criteria, in terms of the absence of all brain function, is consistent with the traditional conception of death as the cessation of vital functioning of the organism as a whole. The key issue is the integrative functioning of the human organism, which ceases to exist, according to the Commission, when the whole brain, including higher cortical areas and the brain stem, fails to function. Although “brain-dead” patients do not appear to be dead—i.e., the reality of their death is “masked” by the activity of mechanical ventilation—the patient’s body has irreversibly lost all capacity for integrative functioning. In the words of the Commission: “When artificial means of support mask this loss of integration as measured by the old methods [cessation of respiration and heart beat], brain-oriented criteria and tests provide a new window on the same phenomenon” (p. 33). The President’s Commission was instrumental in developing and establishing “The Uniform Definition of Death Act”: “An individual who has sustained either (1) irreversible cessation of circulatory and respiratory functions, or (2) irreversible cessation of all functions of the entire brain, including the brain stem, is dead” (p. 2).Although the question posed by the President’s Commission was easy to articulate, the answer, over time, has proved complicated and controversial. The coherence and cogency of determining death by neurological criteria has been challenged. Various experts have demonstrated that “brain-dead” patients maintained on mechanical ventilation display a range of vital, integrative, functioning, which conflicts with the judgment that they are dead (Truog and... (shrink)

Background: Empirical studies in Muslim communities on organ donation and blood transfusion show that Muslim counsellors play an important role in the decision process. Despite the emerging importance of online English Sunni fatwas, these fatwas on organ donation and blood transfusion have hardly been studied, thus creating a gap in our knowledge of contemporary Islamic views on the subject.Method: We analysed 70 English Sunni e-fatwas and subjected them to an in-depth text analysis in order to reveal the key (...) concepts in the Islamic ethical framework regarding organ donation and blood transfusion.Results: All 70 fatwas allow for organ donation and blood transfusion. Autotransplantation is no problem at all if done for medical reasons. Allotransplantation, both from a living and a dead donor, appears to be possible though only in quite restricted ways. Xenotransplantation is less often mentioned but can be allowed in case of necessity. Transplantation in general is seen as an ongoing form of charity. Nearly half of the fatwas allowing blood transfusion do so without mentioning any restriction or problem whatsoever. The other half of the fatwas on transfusion contain the same conditional approval as found in the arguments pro organ transplantation.Conclusion: Our findings are very much in line with the international literature on the subject. We found two new elements: debates on the definition of the moment of death are hardly mentioned in the English Sunni fatwas and organ donation and blood transfusion are presented as an ongoing form of charity. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

The question of animal belief (or animal intentionality) often degenerates into a frustrating and unproductive exchange. Foes of animal intentionality point out that non-linguistic animals couldn’t possibly possess the kinds of mental states we linguistic beings enjoy. They claim that linguistic ability enables us to become sensitive to intensional contexts or to the states of mind of others in a way that is unavailable to the non-linguistic, and that would be necessary for proper attributions of intentionality. To attribute mental (...) states to non-linguistic brutes, no matter how natural it comes to us, would be grossly anthropomorphic. In the face of these challenges some friends of animal intentionality have attempted to show that at least a few animals (chimpanzees, vervet monkeys, honeybees) are capable of engaging in quasi-linguistic, communicative practices that ought to be accorded at least a minimal degree of intentionality. Others have questioned the foes’ necessity claims; linguistic ability, claim these animal friends, isn’t required for sensitivity to intensional contexts, surprise, or belief about belief after all, or if it is, then these features aren’t really requisite for mental capacity. Indeed, if we focus exclusively upon linguistic ability, then we are apt to miss the primitive kinds of mental capacities from which our own full-blooded intentional capacities likely evolved. Animals certainly seem to interact intelligently with their surroundings, so much so that we ought to follow our natural (brute?) anthropomorphic inclinations to credit them with minds. Failing to recognize their genuine intentional capacities would be "brutishly" anthropocentric. (shrink)

On some accounts, early reflection on the nature of human cognition focused on its physical or physiological causes (as, for example, when in fragment 105 Empedocles identifies thought with blood). On other accounts, there was an identifiable process of semantic development in which a number of perception-oriented terms for knowing (e.g. gignôskô, oida, noeô, and suniêmi) took on a more intellectual orientation. Although some find evidence of this transition in the poems of Solon and Archilochus, appreciation for a distinction (...) between sensing and knowing is more plausibly credited to the Presocratic thinkers Heraclitus and Parmenides. It is unclear whether Heraclitus regarded sense perception as an essential first stage in acquiring knowledge (or an inherently inferior form of awareness), but the goddess in Parmenides’ poem unambiguously urges the youth to whom she speaks to set aside the testimony of eye and ear and instead ‘judge by reason’ the nature of what-is. (shrink)

The typical method of acquiring a property right involves transfer from a previous owner. But sooner or later, that chain of transfers traces back to the beginning. That is why we have a philosophical problem. How does a thing legitimately become a piece of property for the first time ? In this essay, I follow the custom of distinguishing between mere liberties and full-blooded rights. If I have the liberty of doing X , then it is permissible for me to (...) do X . But the mere fact that I am at liberty to do X leaves open the possibility that you might be at liberty to interfere with my doing X . Accordingly, liberties are not full-blooded rights, since my having a right to do X has the additional implication that others are not at liberty to interfere with my doing X . When it comes to mere liberties, interference is not a violation. You can violate rights, but you cannot violate liberties. (shrink)

Should blood be bought and sold is in crude terms the question asked and answered by Richard Titmuss in his recent book The Gift Relationship. Dr Raymond Plant, a lecturer in philosophy at Manchester University, analyses Titmuss' arguments in a paper which we are printing in two parts. Titmuss has taken the provision of blood as his example of the gift relationship--and by extension that of health care generally. Dr Plant considers in turn each of Titmuss' arguments that (...) blood should not be a marketable commodity, the moral objections to which seem to be the erosion of freedom and of truth telling, the separation of society through the cash nexus, and its converse that the provision of health care is a means for the integration of society. Dr Plant also examines the views of other commentators on the Titmuss' theory of the value of a 'free' blood transfusion service and other medical care as a means of integration in society, and ends with his promise that in the second part of his paper he will examine Titmuss' principles not in terms of the market but rather as related to the principle of social justice. (shrink)

ABSTRACT Background: Empirical studies in Muslim communities on organ donation and blood transfusion show that Muslim counsellors play an important role in the decision process. Despite the emerging importance of online English Sunni fatwas, these fatwas on organ donation and blood transfusion have hardly been studied, thus creating a gap in our knowledge of contemporary Islamic views on the subject. Method: We analysed 70 English Sunni e‐fatwas and subjected them to an in‐depth text analysis in order to reveal (...) the key concepts in the Islamic ethical framework regarding organ donation and blood transfusion. Results: All 70 fatwas allow for organ donation and blood transfusion. Autotransplantation is no problem at all if done for medical reasons. Allotransplantation, both from a living and a dead donor, appears to be possible though only in quite restricted ways. Xenotransplantation is less often mentioned but can be allowed in case of necessity. Transplantation in general is seen as an ongoing form of charity. Nearly half of the fatwas allowing blood transfusion do so without mentioning any restriction or problem whatsoever. The other half of the fatwas on transfusion contain the same conditional approval as found in the arguments pro organ transplantation. Conclusion: Our findings are very much in line with the international literature on the subject. We found two new elements: debates on the definition of the moment of death are hardly mentioned in the English Sunni fatwas and organ donation and blood transfusion are presented as an ongoing form of charity. (shrink)

This paper presents an overview of the dimensions of unsafe motherhood, contrasting data from economically developed countries with some from developing countries. It addresses many common factors that shape unsafe motherhood, identifying medical, health system and societal causes, including women's powerlessness over their reproductive lives in particular as a feature of their dependent status in general. Drawing on perceptions of Jonathan Mann, it focuses on public health dimensions of maternity risks, and equates the role of bioethics in conscientious medical care (...) to that of human rights in public health care. The microethics of medical care translate into the macroethics of public health, but the transition compels some compromise of personal autonomy, a key feature of Western bioethics, in favour of societal analysis. Religiously‐based morality is seen to have shaped laws that contribute to unsafe motherhood. Now reformed in former colonizing countries of Europe, many such laws remain in effect in countries that emerged from colonial domination. UN conferences have defined the concept of ‘reproductive health’ as one that supports women's reproductive self‐determination, but restrictive abortion laws and practices epitomize the unjust constraints to which many women remain subject, resulting in their unsafe motherhood. Pregnant women can be legally compelled to give the resources of their bodies to the support of others, while fathers are not legally compellable to provide, for instance, bone‐marrow or blood donations for their children's survival. Women's unjust legal, political, economic and social powerlessness explains much unsafe motherhood and maternal mortality and morbidity. (shrink)

This study examined the quality of children's assent to a clinical trial. In subjects younger than 9 years of age, understanding of most aspects of the study was found to be poor to non-existent. Understanding of procedures was poor in almost all subjects. In addition, voluntariness may have been compromised in many subjects by their belief that failure to complete the study would displease others. If the fact that a child's assent has been obtained is used to justify the (...) exposure of that child to the potential harm of a non-therapeutic blood sample, the assent must be meaningful. In the nutrition study observed here, the quality of the assent of children younger than 9 years of age was very poor. The assent therefore did not provide a valid justification for requesting a blood sample from these children. This study indicates that most children younger than 9 years of age cannot be expected to consent or assent to clinical research in a meaningful way. The current age of 7 years for initiating assent (in addition to parental consent) is possibly not appropriate and should be reconsidered. (shrink)

[English version also available] The Blood of Others begins at the bedside of a mortally wounded Résistance fighter named Hélène Bertrand. We encounter her from the point of view of Jean Blomart, her friend and lover, who recounts the story of their relationship : their first meeting, unhappy romance, bitter breakup, and eventual reunion as fellow fighters for the liberation of occupied France. The novel invites the reader to interpret Hélène and Jean’s story as one of positive ethical (...) development. On this progressive reading, although both characters are initially mired in bad faith and ethical irresponsibility, they ultimately transform themselves into ethically exemplary figures. Through their participation in violent political resistance against the occupation, they recognize their responsibility to humanity and actualize that responsibility in the form of positive political engagement. I will argue, on the contrary, that Jean and Hélène exhibit a unique form of bad faith that Beauvoir identifies in The Ethics of Ambiguity, a dangerous form of bad faith, distinct from the Sartrean conception, that promotes the indiscriminate use of violence for political ends. (shrink)

There is a widespread consensus that a commodification of body parts is to be prevented. Numerous policy papers by international organizations extend this view to the blood supply and recommend a system of uncompensated volunteers in this area—often, however, without making the arguments for this view explicit. This situation seems to indicate that a relevant source of justified worry or unease about the blood supply system has to do with the issue of commodification. As a result, the current (...) health minister of Ontario is proposing a ban on compensation even for blood plasma—despite the fact that Canada can only generate 30 % of the plasma needed for fractionation into important plasma protein products and has to purchase the rest abroad. In the following, I am going to suggest a number of alternative perspectives on the debate in order to facilitate a less dogmatic and more differentiated debate about the matter. Especially in light of the often over-simplified notions of altruism and commodification, I conclude that the debate has not conclusively established that it would be morally objectionable to provide blood plasma donors with monetary compensation or with other forms of explicit social recognition as an incentive. This is especially true of donations for fractionation into medicinal products by profit-oriented pharmaceutical companies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Virtues of Animals in Seventeenth-Century ThoughtPeter HarrisonDiscussions about animals—their purpose, their minds or souls, their interior operations, our duties towards them—have always played a role in human self-understanding. At no time, however, except perhaps our own, have such concerns sparked the magnitude of debate which took place during the course of the seventeenth century. The agenda had been set in the late 1500s by Montaigne, who had made (...) the remarkable (if somewhat rhetorical) claim that animals were both moral and rational, and moreover, more moral and rational than humans. In the century which followed, Descartes, not to be outdone, put forward the even more contentious counter-proposal that animals were not only neither rational nor moral, but that they were not even conscious. The Cartesian hypothesis fueled a debate which continued until well into the eighteenth century. 1 While in recent years much attention has been given to issues of animal consciousness and cognition in seventeenth-century thought, the related question of the moral capabilities of animals has been by comparison neglected. In this paper I shall explore the converse side of the better known arguments about the rational capabilities of the beasts, focusing on seventeenth-century discussions concerning the behaviors and passions of the beasts and the extent to which animals were thought to participate in the moral universe of human beings.I. During the first sixteen hundred years of the common era, those thinkers who directed their attention to the natural world had tended to be preoccupied neither with questions of how animals came into being nor with the direct [End Page 463] causes of their various operations but rather with the question of why they existed at all. Almost without exception responses to this question were variations on a single theme: animals had been placed in the world to provide for the physical needs of human beings. 2 While this response proved to be satisfactory in general terms, there were acknowledged deficiencies. Many living things seemed to have been rather extravagantly designed for their putative purpose. Others seemed blatantly to contradict it. Why were our meat supplies, for example, not more conveniently presented, like the fabled Scythian lamb which grew on a tree? Why was it that a significant number of creatures appeared to be useless or even downright harmful to those whom they were designed to serve? And why, finally, were human beings created such that they were dependent upon lesser creatures for their survival?Responses to these difficulties generally took one of three forms, each of which was influential throughout the Middle Ages and beyond. First, it could be asserted that as a result of the Fall, human beings had forfeited their dominion over the creatures, many of which now served as instruments for their punishment and correction. Augustine observed that “there are many things, such as fire, frost, wild beasts and so forth, which do not suit but injure this thin-blooded and frail mortality of our flesh, which is at present under just punishment.” 3 In the seventeenth century this view still attracted many supporters. Thus Godfrey Goodman, in The Fall of Man (1616), wrote that “all the creatures, forsaking their first and naturall use, did serve for mans punishment, and rebelled against him.” 4Second, an appeal could be made to the Platonic principle of plenitude and the related idea of the chain of being. The principle of plenitude taught that more is better and that variety is preferable to uniformity. God, wrote the third-century Christian apologist Lactantius, “wished to display His providence and power by a wonderful variety of many things.” 5 It followed that all existing things could be ranged in a vast scale from non-existence to God himself, with each link in the chain separated from its neighbor by a small difference. Again, this view found many adherents in the early modern period. Thomas Robinson declared that “it was necessary that there shou’d be a variety of Natures, and [End Page 464] different Degrees of Life and Perfection.” Thus “every Creature even of the lowest Degree of Life, is Good and Perfect in its Kind.” 6 Important for our... (shrink)

Are there, in addition to the various actual objects that make up the world, various possible objects? Are there merely possible people, for example, or merely possible electrons, or even merely possible kinds? We certainly talk as if there were such things. Given a particular sperm and egg, I may wonder whether that particular child which would result from their union would have blue eyes. But if the sperm and egg are never in fact brought together, then there is no (...) actual object that my thought is about. Or again, in the semantics for modal logic we presuppose an ontology of possibilia twice over. For first, we countenance various possible worlds, in addition to the actual world; and second, each of these worlds is taken to be endowed with its own domain of objects. These will be the actual objects of the world in question, but they need not be actual simpliciter, i.e., actual objects of our world. What are we to make of such discourse? There are four options: (i) the discourse is taken to be unintelligible; (ii) it is taken to be intelligible but nonfactual, i.e. as not in the business of stating facts; (iii) it is taken to be factual but reducible to discourse involving no reference to possibilia; (iv) it is taken to be both factual and irreducible. These options range from a full-blooded form of actualism at one extreme to a full-blooded form of possibilism at the other. The two intermediate positions are possibilist in that they accept the intelligibility of possibilist discourse but actualist in that they attempt to dispense with its prima facie commitment to possibilia. All four positions have found advocates in the literature. Quine, in his less irenic moments, favours option (i); Forbes advocates option (ii), at least for certain parts of possibilist discourse; many philosophers, including Adams and myself, opt for (iii); while Lewis and Stalnaker have endorsed versions of (iv), that differ in how full-blooded they take the possible objects to be.. (shrink)

Between December 14 and 20, 1965, the World Health Organization Scientific Group on Haemoglobinopathies and Allied Disorders metatthe Geneva agency's headquarters. The group comprised eight well-known physicians including Tulio Arends, a leading Latin American human geneticist from the Venezuelan Institute for Scientific Investigations. Others came from North America, Northern and Southern Europe, the Middle East and South East Asia, an array that reflected the delicate geopolitical equilibriums of postwar international health programs, but also the development of highly specialized biomedical (...) research around the globe. They elected Herman Lehmann, from the Abnormal Haemoglobin Research Unit of the Medical Research... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.1 (2001) 121-140 [Access article in PDF] The Rhetoric of Modal Equivocacy in Cartesian Transubstantiation Julian Bourg Everyday language, in which words are not defined, is a medium in which nobody can express himself unequivocally. Robert Musil 1René Descartes's attempt to explain Eucharistic transubstantiation has long been understood as a dramatically significant moment in his tightrope walk across the medieval-to-modern divide. 2 Modeled (...) on the Last Supper in the New Testament, the Eucharistic rite had been explained in the Catholic tradition after the twelfth century in the scholastic philosophical language of substance and accident. 3 As the Council of Trent reaffirmed in 1551, this transubstantiation was a conversion "of the whole substance of the bread into the substance of the Body and of the whole substance of the wine into the substance of His blood... the appearances [speciebus] only of the bread and wine remaining." 4 Christ was [End Page 121] held to be "truly, really, and substantially contained under the species of those sensible things," under what still appeared to be bread and wine. 5Descartes's dilemma was that on one hand he was dead set against the hylomorphic theory of substance and accident, and on the other hand he found himself obliged by some of his interlocutors to comment on transubstantiation. It was a balancing act that pleased no one for very long, since despite his sometimes eager discussions of the Eucharist, he was not, as he admitted, "a theologian by profession." 6 The putative heterodoxy of Cartesian transubstantiation was principally responsible for his works being placed on the Index of Prohibited Books in 1663 and for his thought being banned from schools under Louis XIV in 1671. 7 His treatment of the Eucharistic question also distressed others in the seventeenth and early eighteenth centuries, such as Thomas Hobbes and Isaac Newton, who were unhappy that Descartes had bothered with such a theological non-issue. 8 For the many post-seventeenth-century advocates of a proto-secular Descartes as the godfather of modern philosophy, Cartesian transubstantiation has proved similarly inconvenient.The indisputable connections between Descartes and his scholastic forerunners, exemplified by the Eucharistic question, service a basic question of contemporary Cartesian scholarship. As Émile Boutroux put it, how was new wine poured from old bottles? 9 Accepting as axiomatic that there was something both radical and original in the Cartesian project but without falling back on pieties about his turn toward the modern subject, we must ask how Descartes put forth novel claims in conceptual language regarded by his contemporaries as resonant, if not consonant, with the scholastic intellectual culture of Catholic Reform France. More precisely, setting aside the not-very-defensible position that such language was merely incidental to Cartesian thought (a position that dehistoricizes Descartes as a precocious Enlightener), the dilemma then becomes explaining how original positions were elaborated within scholastic language. One important task is accounting for what Descartes did with that vocabulary--how he pointed words and concepts in new and surprising directions. The Eucharist becomes crucial in this perspective. [End Page 122]Though the question of Cartesian transubstantiation has been discussed for some time, the topic is worth revisiting again in light of two themes, rhetoric and the Cartesian theory of modes. My argument is that Descartes used one particular scholastic term, "mode," in equivocal ways and that this equivocation was in multiple senses rhetorical. This rhetoric coalesced and came to the fore around the Eucharist because, given the intellectual-political climate of the Catholic Reformation, the stakes of transubstantiation were so high. That Descartes used certain scholastic terms in equivocal or ambiguous ways should come as no surprise. Of interest, though, is the fact that by definition "mode" meant many things. This ambiguous term facilitated ambiguous intellectual positions about the Eucharist that allowed Descartes more generally (no matter what he "really" intended) to skirt between an orthodoxy that represented the past and an originality, not without dangers in his time, that seem to gesture toward our day. Foregrounded with regard to... (shrink)

"Now we can join Gandhi and Tolstoy and nameless others who encountered this vigorous and invigorating book. Welcome to a company of radicals who believed we could and should stop eating non-human animals. They brought vegetarianism out of history and into the here and now." -- from the introductionEthical vegetarianism is no recent development, as this unrivaled historical anthology dramatizes. When it was first published 120 years ago, countless people read and endorsed The Ethics of Diet. But then it (...) became a rare book, hard to find even in libraries. For countless more readers, it is at last available again. In this classic of vegetarian writing, Howard Williams presents a line of thought, a continuous thread, a tradition, a catena of protestation against living on "Butchery." What he finds striking is the variety of the witnesses, the prophets of "Reformed Dietetics" who have "shrunk from the rgime of blood," including Gautama Buddha, Pythagoras, Plato, Hesiod, Epicurus, Seneca, Ovid, Thomas More, Montaigne, Mandeville, Pope, Voltaire, Swedenborg, Wesley, Rousseau, Shelley, Byron, Lamar-tine, Michelet, Bentham, Sinclair, Schopenhauer, and Thoreau. Their words are accompanied by the vigorous narrative voice of Williams himself, who put to rest, once and for all, the idea that vegetarianism is a fad. (shrink)

Teleological explanations (TEs) account for the existence or properties of an entity in terms of a function: we have hearts because they pump blood, and telephones for communication. While many teleological explanations seem appropriate, others are clearly not warranted-for example, that rain exists for plants to grow. Five experiments explore the theoretical commitments that underlie teleological explanations. With the analysis of [Wright, L. (1976). Teleological Explanations. Berkeley, CA: University of California Press] from philosophy as a point of departure, (...) we examine in Experiment 1 whether teleological explanations are interpreted causally, and confirm that TEs are only accepted when the function invoked in the explanation played a causal role in bringing about what is being explained. However, we also find that playing a causal role is not sufficient for all participants to accept TEs. Experiment 2 shows that this is not because participants fail to appreciate the causal structure of the scenarios used as stimuli. In Experiments 3-5 we show that the additional requirement for TE acceptance is that the process by which the function played a causal role must be general in the sense of conforming to a predictable pattern. These findings motivate a proposal, Explanation for Export, which suggests that a psychological function of explanation is to highlight information likely to subserve future prediction and intervention. We relate our proposal to normative accounts of explanation from philosophy of science, as well as to claims from psychology and artificial intelligence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Institute of Medicine’s Report on Non-Heart-Beating Organ TransplantationRoger Herdman (bio), Tom L. Beauchamp (bio), and John T. Potts Jr. (bio)In December 1997, the Institute of Medicine (IOM) released a report on medical and ethical issues in the procurement of non-heart-beating organ donors. This report had been requested in May 1997 by the Department of Health and Human Services (DHHS). We will here describe the genesis of the IOM (...) report, the medical and moral concerns that led the DHHS to sponsor it, the process of producing it, and its conclusions. The analyses, findings, and recommendations of the report are also reviewed, in particular the central issues that led to suggestions for policy changes.Transplantation BackgroundAs a first step, some background in the relevant aspects of organ transplantation will prove useful. For the purposes of this analysis, “transplantation” involves the transfer of cells, tissues, or solid organs from one human to another to replace the structure or function of comparable body components that, through injury or disease, are defective or of inadequate function. The IOM report deals with solid organs, primarily kidneys and livers, whose blood supply is reconnected in the organ recipient, in contrast to cells, like bone marrow, and tissues, like corneas. A variety of donor types exists for organ transplantation, each with particular medical and scientific conditions.Living donors are healthy (and usually genetically related) individuals who volunteer to provide either a whole, paired organ such as a kidney or a section of an organ such as a liver. Cadaver donors are individuals who have died and from whom a full array of organs can be taken. “Heart-beating” cadaver donors are individuals who have suffered “brain death,” that is, irreversible cessation of function of the whole brain including the brain stem; and “non-heart-beating” donors (NHBDs) are individuals who are ill or injured, but not “brain dead,” and who have suffered cardiopulmonary death, that is, irreversible cessation of cardiac and respiratory function. NHBDs can be “controlled,” which means that [End Page 83] they can be sustained by artificial life support systems until a medical and family decision is made to terminate futile life support. This can be done at a scheduled time and in a controlled manner, and organs can then be recovered for transplantation. NHBDs can also be “uncontrolled,” which means that their hearts and breathing have stopped through disease or injury at an unexpected time or in an uncontrolled manner, and they cannot be resuscitated; the organs of some individuals of this description can be recovered for transplantation. The IOM report focused on both controlled and uncontrolled NHBDs and on problems specific to them.The questions that were asked and addressed in the IOM report became current and salient beginning in 1992 with the establishment of the University of Pittsburgh “Policy for the Management of Terminally Ill Patients Who May Become Organ Donors After Death.” This policy addressed controlled NHBDs and the ethical questions raised by their use; much of the discussion was reported in the June 1993 special issue of the Kennedy Institute of Ethics Journal. Public notice and anxiety about some of these concerns were sharpened and refocused by national and local media allegations of improper treatment of donors at the Cleveland Clinic in 1997, specifically premature—i.e., antemortem—recovery of organs and administration of drugs that allegedly might hasten donor death.The DHHS Request for StudyIt is not surprising that several federal actions would be taken in response to these events. Some, such as the results of a transplantation task force, remain largely internal to DHHS at this writing. Others are public, such as the IOM study of the NHBD situation. In May 1997, the DHHS initiated contacts with the IOM with the goal of exploring federal concerns about the medical and ethical treatment of NHBDs, in particular the allegations directed at the Cleveland Clinic.The DHHS response should be understood in at least three contexts. First, living donors and uncontrolled NHBDs were essentially the only donor types in the early days of transplantation in the United States. The technologies, ethics, and social acceptance of controlling and terminating life support for... (shrink)

Some original forms of state emerge from the clan structures in central Africa in the 16th and 17th centuries, beyond the reach of any European influence. The oral epic traditions which echo these events draw from the founts of Bantu mythic thought. The Luba national epic recounts the dramatic origin of its sacred royalty and describes the passage from a primitive culture to a refined civilization, from an uneventful history to one full of movement; but above all it abandons itself (...) to a singular meditation on the ritual usage of fire, on family and death, on time and space, on the rainbow and lightning. If we take the fantastic seriously, symbolic patterns appear which filter the historical tradition and transform it into metaphysics. The reeling King Woot seems to play in reverse the Luba role, on the royal scene of Kuba mythology, where almost Biblical figures could be recognized: the tower of Babel throws its shadow on the adventures of an African Noah who first abandons himself to drunkenness, then to incest, delivering society to the diversity of languages and plunging the universe into primordial chaos. A transition between the myth and the tale, the founding epic of the Lunda state is bathed three times in blood: the blood of the warriors, of the women, and of the beasts who fall prey to a marvelously seductive hunter. Looking closely, we see that this Prince-stranger, initiator of a line of anointed royalty, carries on his shoulders, as does his Luba counterpart, a part of the universe. The cosmogony is veiled in the myth but transparent in the ritual, in the actions and mysterious words of the initiates into mungonge religious society: men with eyes of light are the counterpart of animals with eyes of darkness, as the star of day is opposed to the sinister hyena-moon. The founding epic of the Bemba state tells, like the Kuba myth, of the fascination of the principle of pleasure among a migrating aristocracy, somewhat decadent in comparison with the rude warrior or hunter heroes in the Luba and Lunda epics. But all these narratives, in the final analysis, form one sole myth, which develops its autonomous structures under the turbulence of an historical adventure each time different. More than unfolding the particular story of each kingdom, these legendary chronicles of Zaïre, Zambia and Angola reveal that the powerful political organisations set up by the Bantu to the south of the great forest are not isolated from eacb other: they administrate in common an intellectual patrimony which breaks loose from the ideological role that the kings, whether drunk on palm wine or on military ambition, try to make them play for their own glory: myths and rites obey their own codes, recognize no master but one, which they give themselves in their own kingdom: the Imaginary. The text which follows here is concerned in particular with the epic of the Bemba people, whose dominating aristocracy imposed an anointed royalty on some 100,000 people formerly grouped in matrilinear clans. (shrink)

Can there be a state which is both a belief and a desire? More exactly, a state which is a belief that p and a desire that q, where p and q may be the same proposition or a different one? Such a state would be a ‘besire’. So a first question is the general question whether besires are possible. Normative attitudes would be good candidates for besires. For example, if Sandra has the normative attitude that it would be best (...) for her to leave the country, this seems to be a propositional state of hers which may be both a belief and a desire. Or, for another example, suppose that Michael has the normative attitude that one should not lie without good reason. Then he seems to hold a belief about lying, namely, that lying without good reason is normatively forbidden, and, at the same time, he also seems to have a desire with respect to lying, namely, the desire not to lie without good reason. A second question is whether normative attitudes are besires.1 There are other good candidates for besires. A ‘simple’ state like the state of the young chicken expressed by its cry may be a case in point. Even though the chicken’s state is probably not a full-blooded propositional state, it seems to be ‘Janus-faced’ as well. Does it descriptively represent the chicken’s hunger? Or is it a desire for food? Maybe both – and then it could be a besire, or something like that.2 Ruth Garrett Millikan mentions another candidate, namely, intentions. Intentions clearly have a desire-like nature. And arguably, they.. (shrink)