The account of the death of Patroklos occupies a strategic position in the narrative economy of the Iliad: before this event, Achilles has withdrawn from combat out of indignation against Agamemnon; afterwards, his anger turns against Hector, whom he holds responsible for his friend's death. Achilles returns to battle and kills Hector in an act of vengeance that, as we have known from the beginning of the poem, will lead to his own demise, which is not actually recounted (...) in the Iliad. This episode stands out because it is atypical both in the contents of the narration and in the means of expression used (what are generally termed “formulas”). I will give some examples of these oddities and then propose an interpretation. Here is the text, in the translation by Richmond Lattimore:So long as the sun was climbing still to the middle heaven, so long the thrown weapons of both took hold, and men dropped under them; but when the sun had gone to the time for unyoking of cattle, then beyond their very destiny the Achaians were stronger and dragged the hero Kebriones from under the weapons and the clamour of the Trojans, and stripped the armour from his shoulders. And Patroklos charged with evil intention in on the Trojans. Three times he charged in with the force of the running war god, screaming a terrible cry, and three times he cut down nine men; but as for the fourth time he swept in, like something greater than human, there, Patroklos, the end of your life was shown forth, since Phoibos came against you there in the strong encounter dangerously, nor did Patroklos see him as he moved through the battle, and shrouded in a deep mist came in against him and stood behind him, and struck his back and his broad shoulders with a flat stroke of the hand so that his eyes spun. Phoibos Apollo now struck away from his head the helmet four-horned and hollow-eyed, and under the feet of the horses it rolled clattering, and the plumes above it were defiled by blood and dust. Before this time it had not been permitted to defile in the dust this great helmet crested in horse-hair; rather it guarded the hear and the gracious brow a godlike man, Achilleus; but now Zeus gave it over to Hektor to wear on his head, Hektor whose own death was close to him. And in his hands was splintered all the huge, great, heavy, iron-shod, far-shadowing spear, and away from his shoulders dropped to the ground the shield with its shield sling and its tassels. The lord Apollo, son of Zeus, broke the corselet upon him. Disaster caught his wits, and his shining body went nerveless. He stood stupidly, and from close behind his back a Dardanian man hit him between the shoulders with a sharp javelin: Euphorbos, son of Pantho(s, who surpassed all men of his own age with the throwing spear, and in horsemanship and the speed of his feet. He had already brought down twenty men from their horses since first coming, with his chariot and his learning in warfare. He first hit you with a thrown spear, o rider Patroklos, nor broke you, but ran away again, snatching out the ash spear from your body, and lost himself in the crowd, not enduring to face Patroklos, naked as he was, in close combat. (shrink)

This chapter contains sections titled: Heroes and Quasi‐Heroes Two‐Wheeled Heroes Illusions and Disposable Heroes Cycling's Identity Crisis Heroes in the Midst – Too Many Choices The Need for Heroes in this Postmodern Age of Reason When the Hero Faces Death All Too Human but Still Heroes? What's It All Mean, Anyway? Postscript Notes.

The review of this anthology of essays shows the lifelessness of the contributors. They systematically misread everyone from Plato to Kierkegaard. The false ratiocination about love is also foregrounded in this review. Earlier this reviewer had the misfortune to review The Oxford Handbook of the Philosophy of Death . Then an American cloistered Benedictine Abbot wrote to this author in an email this: ""Yes, indeed, the book is not very serious. When the authors die some day, they will understand (...) better, as we all shall see". And this same Abbot has written this after reading this review: "Yes, Professor, for some time now, our Western culture, having lost its reference to authentic Christianity, prefers to indulge in the self-pity of a kind of false heroism of resignation in the face of death. There is no sense of immortality, therefore, the modern Hamlet perceives himself as a tragic hero who glories in his empty agnosticism and admires his own resolution in the face of the inevitable. Neither East nor West ever really lived from such a Philosophy: only the decadent Christian or Jew. But the reality is elsewhere. Thanks. " It must be remarked I am just a tenured Assistant Professor but the Abbot does not listen. Further, this book along with that earlier book this author reviewed on the philosophy of death can now be contextualized in the light of the resurgence of Covid 19. Basic epidemiology says its going nowhere soon. Therefore everyone everywhere has experienced death in ways we never imagined. The contributors to this anthology too were too glib in their times. And now, they have experienced death. These books arise from loveless lives which hover around departmental chairs and absurd academic flip-flops to gain brownie points. Perhaps, they were all as prescient as the Abbot. The editor, for reasons known alone to him, has given the meaning of facile in square brackets. (shrink)

A unique collection of essays by Australia's foremost art historian, this volume explores the problems involved in defining and describing a visual aesthetic suited to a modern democratic society. Smith sets these problems in their Australian as well as their universal contexts, probing into such areas as community art, art and elitism, Aboriginal art, art and urban society, art in a multi-cultural society, art and abstraction, art and Marxism, and art and modernism.

In times of stress, trauma and crisis—whether on a personal or global scale—it can be all too easy for us to externalize a larger-than-life figure who can assuage our suffering, a Hero who comes to the fore even as we recede into the background. In taking on our collective burden, however, such an omnipotent Hero can actually undermine us, representing as it does the very same characteristics we fail to note in one another. By granting the Hero (...) to power to set things right, we seem to deny it to ourselves, leaving us temporarily lightened but ultimately helpless. In response, Sue Grand deconstructs the myth of the Heroic and argues for the "ordinary hero," a more realistic figure with the same limitations, concerns and fears as the rest of us, but who nonetheless stands up for the greater good in the face of danger, despair and villainy. From the foundation of relational psychoanalysis, Grand incorporates cultural and ethical considerations in her examination of what this ordinary hero might look like, a trip that takes us from the consulting room to right outside our front doors, from the heart of a "civilized" nation to the myriad war-torn regions dappling the globe, both past and present. Along the way we meet individuals whose encounters with adversity range from the mundane to the catastrophic, and learn how they struggle against the dubious concept of the Hero looming large in their lives. Recounting this journey in finely-tuned yet imminently accessible and enjoyable prose, Grand demonstrates that the best place to ultimately find the ordinary hero is within each other: The hero is us. (shrink)

What is the origin of ethical responsibility? What gives us our ability to respond? An ethical response involves responding to myself: I answer the call of my conscience. It also involves answering to the Other: I respond to the appeal of my neighbor. Is one form of response prior to the other? Contemporary thinking about these questions has been largely taken up by the debate between Levinas and Heidegger. Responsibility, according to Heidegger, begins with our concern for our being.1 The (...) “call of conscience” originates in our responsibility for what we are. By contrast, Levinas sees this “call” as beginning, not with ourselves, but with our neighbor. Its origin is “the face of the other.” So framed, the debate can be expressed in the opposition: self-responsibility against responsibility for the other.2 My purpose in what follows is to establish two claims. The first is that behind this opposition, there is a fundamental agreement concerning the origin of our ethical obligations. Both philosophers hold that ethical responsibility ultimately springs from our encounter with death. Their real quarrel concerns its location. Where do we first confront death? Is the “first death” our own or that of the other person? Do I confront death in the anxiety I have over my own demise or does it make its primary appearance in what Levinas calls “the face as the very mortality of the other person”?3 My second claim is that, whichever we choose, we cannot really base ethical responsibility on this encounter. This is because death for both philosophers is nontransferable and, hence, ultimately isolating. Furthermore, to face it is a traumatic experience. A traumatised self, however, cannot act. It can only flee. Given this, the response death actually provokes is avoidance. To adequately ground ethical responsibility, we must, I conclude, turn from seeking its basis in death understood in terms of absence and passivity. We must rethink this ground in terms of life taken as presence and affectivity. §1.. (shrink)

This article argues that the Phaedo is written as a new sort of story of how a hero faces death; this story provides an alternative to existing tragedy, as understood by Plato. The opening of the Phaedo makes clear that two features that Plato closely associates with tragedy, pity and lamentation, are inappropriate responses to Socrates’ impending death, and that tuchē (chance) did not affect his happiness. This is the first step in the dialogue’s sustained engagement with (...) tragedy. Tragedy for Plato falls under the category of stories about heroes and gods. Plato wrote the Phaedo so that we would see Socrates as a philosophical hero, a replacement for traditional heroes such as Theseus or Heracles. I argue that in fact the Phaedo meets every requirement in Republic Books 2–3 for how to tell stories about heroes and gods and so belongs to the same broad category as tragedy. Within this framework, it tells its new story of how the true hero faces death. (shrink)

Due to the COVID-19 pandemic, preschool teachers must quickly adjust to online education. During COVID-19, teachers have been forced to embrace technology. This study investigates the lived experiences and challenges of preschool teachers. Employing the Interpretative Phenomenological Analysis, the findings of this study were: It was found that managing parent expectations and dealing with challenging parent behavior were among the sources of stress for preschool teachers. This fear of being judged or criticized by parents could influence their teaching practices and (...) interactions with students, leading to feelings of anxiety or insecurity. Further, preschool teachers faced challenges in implementing blended learning, including technological issues, a lack of support and resources, and difficulties creating engaging online content. However, as teachers gained more experience and knowledge about effectively using online tools and technologies for instruction, these challenges became more manageable. Also limited or unreliable internet connectivity was also a significant challenge faced by teachers and students in the transition to online learning. The digital divide and various technical, bandwidth, and security concerns exacerbated it. Internet connection was a major frustration for her during online classes as it affected her ability to communicate and teach her students effectively. Moreover, preschool teachers have had to adapt to the challenges of blended learning by implementing various strategies and making preparations to guide and support their students effectively. These strategies have included using games and other engaging activities to keep students motivated and engaged, developing online lesson plans, and using online teaching platforms and tools. However, the transition to blended learning has also been a source of stress for preschool teachers. They have had to manage additional workloads and responsibilities and deal with challenges such as supporting students with varying technology access and skills. (shrink)

This paper situates the data privacy debate in the context of what I call the death of the data subject. My central claim is that concept of a rights-bearing data subject is being pulled in two contradictory directions at once, and that simultaneous attention to these is necessary to understand and resist the extractive practices of the data industry. Specifically, it is necessary to treat the problems facing the data subject structurally, rather than by narrowly attempting to vindicate (...) its rights. On the one hand, the data industry argues that subjects of biometric identification lack legal standing to pursue claims in court, and Facebook recently denied that that its facial recognition software recognizes faces. On the other hand, industry takes consent to terms of service and arbitration clauses to create enforceable legal subject positions, while using promises of personalization to create a phenomenological subject that is unaware of the extent to which it is being manipulated. Data subjects thus have no legal existence when it is a matter of corporate liability, but legal accountability when it is a matter of their own liability. Successful reform should address the power asymmetries between individuals and data companies that enable this structural disempowerment. (shrink)

This paper explores the role of existential vulnerability in the experience of personal identity and how identity is found and created. Existential vulnerabilities mark a boundary between what humans can bring about willfully or manipulate to their advantage and what is resistant to such actions. These vulnerabilities have their origin, on an ontological level, in fundamental conditions of human existence. At the same time, they have implications on a psychological level when it comes to self-experience and identity formation. Narrative and (...) value-based identity depend on how a person relates to finitude and the ambiguous side of lived experience. Relational identity depends on how a person relates to existential aloneness and the fact that the meaning and value of our actions are partly out of our control; they are always also dependent on other people’s responses to us. Bodily identity makes us feel continuous and real, but at the same time vulnerable to death and the gaze and actions of others. Being ‘thrown’ into an arbitrary life context is also a form of existential vulnerability. Authentic psychological identities can develop by giving meaning to these circumstances and balancing acceptance of existential vulnerability with the courage to make choices and act. (shrink)

This article examines the philosophical position of Plutarch on death through the way that he faces the deaths of prominent and non-prominent Lacedaemonians. Then, an analysis of Plutarch's positions by Georgius Trapezuntius in the Renaissance period is attempted, so as to illustrate the degree and the method of using the classical philosophical thought in the Renaissance.

This article considers the relationship between subjectivity and representational form. More specifically, it discusses the transformation in self-representation between life and death by the artist Roger de la Fresnaye, reflecting his modernist articulations of life to pre-modern, classicist figurations of death. For the artist, modernity could not bear the demands that dying made upon representation, as unable to fully accord death a sign. Modernity's dissolution of the subject annihilated the very permanence of identity and presence that (...) class='Hi'>death guaranteed, but without its covenant of ritual and history. Instead, classicism provided a coherent anterior body, another face from which he could speak after death: ?one? would always be present to speak for him. The face therefore addresses culture through its specific appeal to, and demand of, time, space, and history. (shrink)

This article considers the relationship between subjectivity and representational form. More specifically, it discusses the transformation in self-representation between life and death by the artist Roger de la Fresnaye, reflecting his modernist articulations of life to pre-modern, classicist figurations of death. For the artist, modernity could not bear the demands that dying made upon representation, as unable to fully accord death a sign. Modernity's dissolution of the subject annihilated the very permanence of identity and presence that (...) class='Hi'>death guaranteed, but without its covenant of ritual and history. Instead, classicism provided a coherent anterior body, another face from which he could speak after death: “one” would always be present to speak for him. The face therefore addresses culture through its specific appeal to, and demand of, time, space, and history. (shrink)

Warren Zevon’s musical career, though brilliant throughout, is particularly notable for its ending: diagnosed with a terminal illness, Zevon refused a potentially debilitating medical treatment to put his remaining energy into recording another album. The resulting record –2003’s 'The Wind' – was in many ways the perfect farewell: songs of dirty, dark, uncompromising, country-tinged rock, blistering guitar solos, all mixed with intelligent, black-as-coal gallows humour. But it was also a moving farewell to his fans, a heartfelt, personal reflection on his (...) life and impending death: it begins with the words “sometimes I feel like my shadow’s casting me” and ends with “keep me in your heart for a while”. 'The Wind' ranks among Zevon’s very best and belongs in the same category as albums like David Bowie’s 'Blackstar' and Leonard Cohen’s 'You Want It Darker': works of great artists that knew the end was coming and made that knowledge musical. But though it had a particular force towards the end, death had always featured as a prominent theme in Zevon’s music. In fact, the albums that preceded his terminal diagnosis – especially 2000’s 'Life’ll Kill Ya' – have a marked preoccupation with death and dying, and many of his song’s characters (gunmen, gangsters, boxers, murderers of all stripes) either dealt death out, died, or both. -/- In this chapter, I argue that Zevon’s music and speech in his late public appearances personify an idea in Martin Heidegger’s philosophy called ‘authentic being-towards-death’. In his landmark text 'Being and Time', Heidegger undertakes a painstaking analysis of human existence. One of its conclusions is that to live a fully authentic life, we must reckon with our mortality, come to terms with it and allow this reckoning to have a transformative effect on how we live and how we think about our existence. This results, Heidegger argues, in a distinct way of being that he calls ‘being-towards-death’ and ‘anticipatory resoluteness’ in the face of death. Authentic being, which involves properly taking ownership of our lives and their meaning, cannot be adequately achieved without a serious confrontation with the fact that we will one day die. I claim that Warren Zevon’s music, with its continual engagement with death which culminates in 'The Wind', is one of the great musical manifestations of exactly this type of project. Heidegger’s writing is often notoriously abstract, but it pertains to the most fundamental issues about what it means to be human. Engaging with it alongside Zevon’s music provides a fruitful opportunity to make it concrete, better able to understand its most important aspects while providing an interesting conceptual toolkit to apply to the music of one of the great songwriters of death. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reports of the Death of the AuthorDonald KeeferReports of the death of the author have been greatly exaggerated. Throughout Western history, the death of a hero, the disappearance of something sacred, the fall of a leader, or the defeat of a powerful people has signaled cultural crises and the coming of anxiety-filled transformations towards an unknowable future. When Friedrich Nietzsche wrote the belated obituary on (...) the death of God, he was well aware of its enormity. He complains that millennia will pass before humanity will overcome its living in the “immense frightful shadow” of God. 1 Roland Barthes’s 1968 notice on “The Death of the Author,” however, announces an analogous loss of the “Author-God” with nothing but smug confidence: “We know to give writing its future, it is necessary to overthrow the myth: the birth of the reader must be at the cost of the death of the Author.” 2 Since his actual death in 1980, and despite his writings contra the author, Barthes has become the sort of Author declared moribund in his article, as he is attentively read and dutifully quoted with adulation by artists, art and literary critical theorists alike. 3For Abigail Solomon-Godeu, writing on photography, the death of the author, and by extension, the artist and composer, as theorized by Barthes, was a cornerstone in a new age of cultural production and consumption. Readers would be liberated from the tyranny of authorial authority. She links the transgressive edge of “appropriative art,” found in such works as photographer Sherry Levine’s photographs of famous photographs, to playing out the cultural consequences of Barthes’s manifesto. “The dismantling of the notion of unique subjectivity Barthes understood as a salutary blow struck against ossified and essential retrograde bourgeois humanism.” 4 The paramount irony is [End Page 78] that the Four Henchman of the Authorial Apocalypse, Roland Barthes, Michel Foucault, Jacques Derrida, and Paul De Man, are given the godlike status of founding fathers of postmodernism by practically every writer on the current art scene. The program to “challenge the symbolic itself,” is accepted as a sacred charge by the new cultural clerisy. 5Nearing three decades of postmortem of the author, what has changed? The “death of the author” has given birth not to the reader, but to a booming industry of “discursive practices,” or the production of texts on texts. And clearly, not one of the producers of these texts would happily give credit to discourse itself for their byline. Despite postmodern misgivings about authority and propriety, we can still be sued for appropriating without their permission words and ideas theoretically the product of language itself! 6 Isn’t it high time that we began to demand some sort of truth in advertising or reporting on matters such as these?Margit Sutrop has lamented in the pages of this journal the resilient attitudes of those cultural critics who take as axiomatic Barthes’s claims: “Even the sharpest philosophical analysis has had no influence on those speaking about the death of the author.” 7 In fact, many of the critiques are so good, one must wonder if our continuing concern with Barthes isn’t bordering on overkill. Sutrop sees that Barthesian proponents have too much invested in the thesis to be moved. She then acknowledges that arguments might prove fruitless against the force of a metaphor. This is a very troubling concession however. There is nothing surprising about a community’s lack of self-criticism except when that community advertises itself as the party that dares to challenge all. The convenience of certain “truths,” or beliefs not subject to correction ought always to make us suspicious.The truth is Barthes’s attack has much less to do with authors than with a style of reading: “We know that a text is not a line of words releasing a single ‘theological’ meaning (the ‘message’ of the Author-God), but a multi-dimensional space in which a variety of writings, none of them original, blend and clash” (DOA, p. 146). The tenacity of Barthes’s supporters is a function of the sort of reading that Barthes licenses here and in his other works. Clearly... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Limb-Loosening and the Care of History: Tracing a Motif in Vergil GEORGE SAAD the counter-voice of eros in epic While the Homeric world clearly underlies Vergil’s Aeneid, this Roman appropriation of Greek epic is not without complications. Vergil, taking the whole of history as his theme, develops a world subject to cosmic forces beyond the might and craft of Homeric heroes. To overcome enemies is no mean feat, but (...) how is the world itself overcome? How does the hero move history? Prior to writing the Aeneid, Vergil had already found this world-conquering power in amor and labor improbus,1 which conquer all things. Love and unrelenting toil always step beyond their limits. Unlike Achilles, they rage on after the bodies are buried. Always unsatisfied, they cut deeper than the superficial, personal manipulations of sword and stratagem. These forces reach beyond the satisfaction of any finite objective, encompassing and reshaping the entire world. As Vergil is more than an epic poet, the Aeneid transcends the presuppositions of Homeric epic. Against the wider horizon of world history, the epic form becomes the contingent expression of an outmoded worldview, one now seen from outside itself and suspended in comparison with other possible alternatives. And so, though Vergil sings of arms and the man, it is not at all clear that he means to exult the armed man. The ambiguity of Vergil’s commitments has been expressed in Adam Parry’s reading of Vergil as counterposing “two voices” in the Aeneid, 2 a main voice of Roman triumph and a counter -voice questioning the Roman imperial project. This counter -voice ties Vergil to genres outside of epic, genres with their arion 28.2 fall 2020 44 limb-loosening and the care of history own often opposing views of the human condition. Sappho offers one such critique of epic from the erotic perspective of lyric when she asks if any military pageantry could really be more beautiful than the object of her desire (Sappho LP 16). Though the sentiment comes from Greek lyric, it perfectly applies to the crisis of value-commitments Aeneas faces across his journey, most obviously (but not exclusively) in abandoning Dido for Roman glory. The conflicting voices Parry found within the Aeneid are thus analogous to the contrast between epic and lyric, between a view of the world as violence redeemed by public renown and a view of the world as love contained within personal intimacy. Even in Vergil’s most quintessentially epic moments, the deaths of great heroes, an echo of the lyrical voice is present. A formula repeated at the beginning and end of the epic—solvuntur frigore membra—describes the introductory surrender of Aeneas during the storm (Aen 1.92) as well as the concluding death of Turnus at Aeneas’ own hands (Aen 12.951). The hero and his rival both fall with their “limbs slack in a chill,”3 one in desperate supplication, the other in death. What exactly does this mean? Do the limbs seize up in a kind of terror, stiffening in rigor mortis as frigore would suggest? Or is the stress on the solvuntur, as the limbs loosen with a free sensuality evocative of lyrical eroticism? On the most basic physical level, solvere describes the body as somehow coming apart and losing its unified form, yet in these uses it also suggests the opposite, a rigid stiffening of the body. There is clearly more than a physical account intended in each of these expressions. Some deeper semantic sense unites the physical descriptions. Vergil is not entirely innovating with this expression, as Homer uses a similar phrase to describe the deaths of Patroclus and Hector (Il. 16.856–57; 22.68). I aim to demonstrate how this epic formula draws upon a literary tradition which supplies the wider semantic sense necessary to contextualize these passages in Vergil. The epic poets are relying upon a George Saad 45 long-standing motif to describe the loosening of boundaries between individual and world in a moment of bittersweet release. While this motif arises throughout Greek literature, it is especially characteristic of lyric. The loosening of the limbs becomes especially conspicuous in Vergil because this... (shrink)

In this article I examine the question of how a liberal state should go about defining death. Plausible standards for a definition of death include a somatic one based on circulatory criteria, death by neurologic criteria (DNC), and higher brain death. I will argue that Rawlsian “burdens of judgment” apply in this process: that is, reasonable disagreement should be expected on important topics, and such disagreement ought not be resolved via the coercive powers of the state. (...) Nevertheless, the state must legislate a definition of death, and in doing so faces a “neutralist dilemma,” that is, when there are multiple reasonable ways to move forward, only one can be chosen. I will examine a possible way to exit this neutralist dilemma. Finally, I will argue for DNC as the normatively preferred default definition of death. To do this, I will employ the Rawlsian heuristic of the “original position” and offer public reasons in favor of using DNC as the preferred default definition of death. (shrink)

This chapter contains sections titled: Facing Death Individuals and Shared Destinies Rats! A Note on Plague The Plague as Horror Facing Death Together: Being‐with‐Others.

This paper is a fragment of the book “Kaja od Radosława, czyli historia Hubalowego Krzyża”, which was published by Warszawskie Wydawnictwo Literackie Muza in 2006. It will be published by the American publisher The Military History Press under the title “Kaia Savior of the Hubal Cross”. Covering a century of Polish history, it is full of tragic and compelling events. Such historic events as Polish life in Siberia, Warsaw before the war, the German occupation, the Warsaw Uprising, life in Ostaszków, (...) and the rebuilding of Warsaw are included.The hero Kaia is a woman, christened Cesaria, whose father was expelled to Siberia in 1905 for conspiring against the tsar. Kaia spent her early childhood there, and the family lived near the mountain Altaj. A chapter shows how the Polish community lived there, organized their daily lives, etc. In 1922, the family returned to free Poland, the train trip back taking almost a year. This ordeal is highlighted as a series of stops sometimes lasting for weeks because of heavy snow accumulation, the men shoveling a pathway for the train to pass through, many deaths occurring from the frigid cold with the “caboose” used as a mortuary for Poles to be returned to their homeland for burial. Kaia entered the school system, was eventually educated as an architect, and then World War II started. She lived under the German occupation for the first few years, and later became a conspirator by helping the underground movement. She joined the Armia Krajowa in 1942. At considerable risk, her apartment became a meeting place for the conspirators.After Hubal’s death, one of his couriers gave Kaia the Hubal Cross Virtuti Militari. The cross was with her for the ensuing 50 years. During the Warsaw Uprising, in which she was a courier, she carried the cross around her neck. Many times, she had to travel via the Warsaw underground sewer system. Twice, she was wounded. After the Warsaw Uprising collapsed, she went to the east territory to look for her mother. She was captured by the Russian NKVD in Białystok and sent to Ostaszków. An interesting scene describes one of many interrogations: the Russian interrogator asks if she knows about the cross. Her reply causes a puzzled look on his face. The cross was never discovered (she had hidden it in a specially made shoe). Protection of the Virtuti Militari Cross, which at first had been a challenge to Kaia to survive the Uprising and Russian imprisonment, later became a symbol of courage and determination of the Polish people. In 1946, Kaia returned to Poland very ill and weighing only 38 kg (83.6 pounds). Eventually recovering her health, she worked as an architect involved in the rebuilding of Warsaw totally decimated by the Germans.In the Warsaw Uprising chapter, Kaia’s diary is included, and the book relates the scenes and events that she described. One such experience is most moving. It was a quiet moment, i.e. the shooting had subsided. On a warm beautiful August night, she was sitting, enjoying the quiet alone when, a young man sat down next to her. He was a colleague from architectural school. Together, a few months earlier, they had attended a university ball, and Kaia remembered him as always being funny and amusing. Then, she noticed he was missing one eye and part of his chin. He returned her gaze and jokingly said, “I still have one eye left”. And then, he quietly sang a popular song that they had danced the waltz to… “Not to be in love on such a beautiful night is a sin”… Kaia had to be in the same mood as he was and smiled. A few days later, half of his body was covered in ruins…he could not be helped. His death lasted several days, and he is buried in Powązki Cemetery, like many soldiers of the Uprising. (shrink)

Some individuals facing dementia contemplate hastening their own death: weighing the possibility of living longer with dementia against the alternative of dying sooner but avoiding the later stages of cognitive and functional impairment. This weighing resonates with an ethical and legal consensus in the United States that individuals can voluntarily choose to forgo life‐sustaining interventions and also that medical professionals can support these choices even when they will result in an earlier death. For these reasons, whether and (...) how a terminally ill individual can choose to control the timing of their death is a topic that cannot be avoided when considering the dementia trajectory. With a focus on the U.S. context, this landscape review considers the status of provisions that would legally permit people facing dementia to hasten death with appropriate support from medical professionals. This review can be used to plan and guide clinical and legal practitioner discussion and policy development concerning evolving questions not fully covered by existing medical decision‐making provisions. (shrink)

Is there a distinction between “art” and “craft,” where the former is motivated by something like “genuine” or “authentic” creativity and the latter by, at best, skill and skill alone, and at a worst, a fumbling attempt to fit in with popular modes of expression? In this paper, I suggest that there does seem to be such a distinction. In particular, I attempt to show that genuine creativity, and so, genuine art—in varying respects—is motivated by a certain recognition of what (...) we might understand as the most universal, and perhaps the most important property of all human beings: the brutal fact that our lives are limited; in the end, we all die. To show why I think this is the case, I have divided my paper into three parts. In the first, I briefly explain why we might view mortality as our most pressing issue and concomitantly, why we might understand it to be the driving force behind not only our desire to procreate, but also, to create. In the second part of the paper, I do something that is not strictly “philosophical”—I canvas a number of remarks by poets and writers who, like myself, are convinced that death is our primary muse, but not necessarily in a morbid, or despairing respect—in fact, we see that this is quite the opposite in some cases (c.f. Nabokov, 1966). Why do I do this? Because it seems obvious to me that we should ask the actual artists about what motivates them, rather than putting words into their mouths. In the third and final part of the paper, I offer a brief philosophical explanation of why and how—in light of sections one and two—we might begin to distinguish between genuine art and craft. -/- . (shrink)

In this paper, I explore the connection between certain metaphysical views of time and emotional attitudes concerning one’s own death and mortality. I argue that one metaphysical view of time, B-theory, offers consolation to mortals in the face of death relative to commonsense and another metaphysical view of time, A-theory. Consolation comes from three places. First, B-theory implies that time does not really pass, and as a result one has less reason to worry about one’s time growing short. (...) Second, B-theory entails that there is a real sense in which one’s death does not result in one’s annihilation, and this fact can temper feelings of existential distress. Third, B-theory has the consequence that the benefits one has lost have concrete existence, and this fact can mitigate the emotional significance of the losses of death. (shrink)

The idea of heroism has become thoroughly muddled today. In contemporary society, any behavior that seems distinctly difficult or unusually impressive is classified as heroic: everyone from firefighters to foster fathers to freedom fighters are our heroes. But what motivates these people to act heroically and what prevents other people from being heroes? In our culture today, what makes one sort of hero appear more heroic than another sort? In order to answer these questions, Ari Kohen turns to classical (...) conceptions of the hero to explain the confusion and to highlight the ways in which distinct heroic categories can be useful at different times. Untangling Heroism argues for the existence of three categories of heroism that can be traced back to the earliest Western literature – the epic poetry of Homer and the dialogues of Plato – and that are complex enough to resonate with us and assist us in thinking about heroism today. Kohen carefully examines the Homeric heroes Achilles and Odysseus and Plato's Socrates, and then compares the three to each other. He makes clear how and why it is that the other-regarding hero, Socrates, supplanted the battlefield hero, Achilles, and the suffering hero, Odysseus. Finally, he explores in detail four cases of contemporary heroism that highlight Plato's success. Kohen states that in a post-Socratic world, we have chosen to place a premium on heroes who make other-regarding choices over self-interested ones. He argues that when humans face the fact of their mortality, they are able to think most clearly about the sort of life they want to have lived, and only in doing that does heroic action become a possibility. Kohen's careful analysis and rethinking of the heroism concept will be relevant to scholars across the disciplines of political science, philosophy, literature, and classics. (shrink)

The individual's reaction to imminent death depends on his concept of the existential meaning of death.There are two main, but opposing, concepts, one positive and the other tragic. The first sees death as a transition to another mode of being. Within that three main modalities are to be distinguished, in which is considered either as an element in the cosmic harmony, the reintegration of the individual into the universal (the `Tagorian' mode); or secondly the possibility of man's (...) external existence through his transfer, together with his entire physical and psychological apparatus, to a realm of legend (the `Mioritic' mode); or thirdly the culmination of life, the moment of maximum existential concentration overflowing into the universe and encircling it (the `Rilkian' mode). The second concept, the tragic concept, sees death either as a desired solution, which puts an end to the nothingness of life (the `Tracklian' mode); or as a nonsense, as an absurd injustice of nature (the `common' mode); or as a necessity of which we do not know the meaning, a dialectical moment of eternal change (the `Stoic' mode). The psychological care of the dying involves identification with the patient's concept of death, in order to maintain his morale and possibly diminish his terror of death. The doctor must therefore be a good psychologist and a genuine philosopher, in the strictest sense of the word. (shrink)

This paper is a fragment of the book “Kaja od Radosława, czyli historia Hubalowego Krzyża”, which was published by Warszawskie Wydawnictwo Literackie Muza in 2006. It will be published by the American publisher The Military History Press under the title “Kaia Savior of the Hubal Cross”. Covering a century of Polish history, it is full of tragic and compelling events. Such historic events as Polish life in Siberia, Warsaw before the war, the German occupation, the Warsaw Uprising, life in Ostaszków, (...) and the rebuilding of Warsaw are included.The hero Kaia is a woman, christened Cesaria, whose father was expelled to Siberia in 1905 for conspiring against the tsar. Kaia spent her early childhood there, and the family lived near the mountain Altaj. A chapter shows how the Polish community lived there, organized their daily lives, etc. In 1922, the family returned to free Poland, the train trip back taking almost a year. This ordeal is highlighted as a series of stops sometimes lasting for weeks because of heavy snow accumulation, the men shoveling a pathway for the train to pass through, many deaths occurring from the frigid cold with the “caboose” used as a mortuary for Poles to be returned to their homeland for burial. Kaia entered the school system, was eventually educated as an architect, and then World War II started. She lived under the German occupation for the first few years, and later became a conspirator by helping the underground movement. She joined the Armia Krajowa in 1942. At considerable risk, her apartment became a meeting place for the conspirators.After Hubal’s death, one of his couriers gave Kaia the Hubal Cross Virtuti Militari. The cross was with her for the ensuing 50 years. During the Warsaw Uprising, in which she was a courier, she carried the cross around her neck. Many times, she had to travel via the Warsaw underground sewer system. Twice, she was wounded. After the Warsaw Uprising collapsed, she went to the east territory to look for her mother. She was captured by the Russian NKVD in Białystok and sent to Ostaszków. An interesting scene describes one of many interrogations: the Russian interrogator asks if she knows about the cross. Her reply causes a puzzled look on his face. The cross was never discovered (she had hidden it in a specially made shoe). Protection of the Virtuti Militari Cross, which at first had been a challenge to Kaia to survive the Uprising and Russian imprisonment, later became a symbol of courage and determination of the Polish people. In 1946, Kaia returned to Poland very ill and weighing only 38 kg (83.6 pounds). Eventually recovering her health, she worked as an architect involved in the rebuilding of Warsaw totally decimated by the Germans.In the Warsaw Uprising chapter, Kaia’s diary is included, and the book relates the scenes and events that she described. One such experience is most moving. It was a quiet moment, i.e. the shooting had subsided. On a warm beautiful August night, she was sitting, enjoying the quiet alone when, a young man sat down next to her. He was a colleague from architectural school. Together, a few months earlier, they had attended a university ball, and Kaia remembered him as always being funny and amusing. Then, she noticed he was missing one eye and part of his chin. He returned her gaze and jokingly said, “I still have one eye left”. And then, he quietly sang a popular song that they had danced the waltz to… “Not to be in love on such a beautiful night is a sin”… Kaia had to be in the same mood as he was and smiled. A few days later, half of his body was covered in ruins…he could not be helped. His death lasted several days, and he is buried in Powązki Cemetery, like many soldiers of the Uprising. (shrink)

The first look at the philosophy behind the Iron Man comics and movies, timed for the release of Iron Man 2 in March 2010 On the surface, Iron Man appears to be a straightforward superhero, another rich guy fighting crime with fancy gadgets. But beneath the shiny armor and flashy technology lies Tony Stark, brilliant inventor and eccentric playboy, struggling to balance his desires, addictions, and relationships with his duties as the Armored Avenger. Iron Man and Philosophy explores the many (...) philosophical issues that emerge from the essential conflicts found in the decades of Iron Man stories in comics and movies. What kind of moral compass does Tony Stark have? Is Iron Man responsible for the death of Captain America after the Marvel Universe “Civil War”? Should people like Stark run the world? How does Tony’s alcoholism impact his performance as Iron Man, and what does it say about moral character? Ultimately, what can Iron Man teach us about the role of technology in society? As absorbing as Iron Man comic books and movies, Iron Man and Philosophy: Gives you a new perspective on Iron Man characters, story lines, and themes Shows what philosophical heavy hitters such as Aristotle, Locke, and Heidegger can teach us about Tony Stark/Iron Man Considers issues such as addiction, personal responsibility, the use of technology, and the role of government Whether you've been reading the comic books for years or have gotten into Iron Man through the movies, Iron Man and Philosophy is a must-have companion for every fan. (shrink)

Angels of Death, which reports on Magnusson’s study of the euthanasia underground within the HIV/AIDS communities principally in Sydney, Melbourne, and San Francisco, is, in many respects, a unique work. It is written by a legal scholar but is quite deliberately non-legalistic; indeed, Magnusson makes clear his intention is not to create another manifesto but to inject new perspectives into the euthanasia debate. The book’s underlying methodology also sets it apart. It is based on the author’s own extensive empirical (...) research, drawing on data gathered over three years in the course of indepth, face to face interviews with healthcare workers in Australia and the USA who have been involved in caring for people with AIDS. This kind of empirical research is not often undertaken by lawyers, and while a number of studies into attitudes and practices of healthcare professionals in relation to euthanasia have been carried out by researchers from other disciplines, very few have involved interview based research, relying instead predominantly on surveys.1 By any measure, Magnusson’s research has been undertaken with meticulous care. He is able to balance his gratitude and respect for his interviewees with the need to provide a dispassionate and evenhanded commentary on their accounts.The aim of Magnusson’s study is to investigate the attitudes and practices of Australian and American healthcare workers towards assisted suicide and euthanasia, especially within HIV/AIDS healthcare contexts. While this presents some atypical features from other healthcare contexts where assisted death is an issue , it serves as a useful focal point for this study. The book presents and analyses first person accounts of involvement in …. (shrink)

For more than thirty years, in most of the world, the irreversible cessation of all brain function, more commonly known as brain death, has been accepted as a criterion of death. Yet the philosophical basis on which this understanding of death was originally grounded has been undermined by the long-term maintenance of bodily functions in brain dead patients. More recently, the American case of Jahi McMath has cast doubt on whether the standard tests for diagnosing brain (...) class='Hi'>death exclude a condition in which the patient is not dead, but in a minimally conscious state. I argue that the evidence now clearly shows that brain death is not equivalent to the death of the human organism. We therefore face a choice: either we stop removing vital organs from brain dead patients, or we accept that it is not wrong to kill an innocent human who has irreversibly lost consciousness. (shrink)

This article discusses how doctoral candidates identify and navigate personal learning challenges on their journey to becoming researchers. Our study asked creative arts and humanities candidates t...

Progressing beyond the given has been a key modern tendency. Yet modern societies are currently facing the problem of how to put limits on progress, expansion, and growth, live within them, and preserve (rather than transcend) the present. Drawing on economic sociology scholarship on valuation and morality in economic life, this article develops and applies the term economization to analyze the enactment of limits on progress. The question of end-of-life care—when to stop medical efforts to prolong life, postpone (...) class='Hi'>death, and advance the scientific frontier—serves as an illustrative empirical case that sheds light on limit-setting in general. My analysis of this case combines historical, ethnographic, and in-depth interview data on US palliative care clinicians, who specialize in making life-and-death decisions in acute care hospitals. (shrink)

This paper attempts to furnish a Stoic reply to an accusation addressing the Stoics' ideal of the wise man according to which it is impossible to realize their ideal and therefore their whole system has to face a paradox: How is wisdom possible when all people are fools and it is impossible for them to become good? In addition to this question there is another important problem connected with the ideal of wisdom. The Stoic philosophers deny transcendental ideas. Instead they (...) are well known for their thorough-going materialism. Therefore, even their idea of the wise man must be based on experience. How would it otherwise be possible to form the idea of wisdom by a method of analogy if experience did not provide any example of truthful virtue to us? A possible answer to this problem can be found in the writings of Seneca, a Stoic of the first century A.D. Seneca emphasizes the close relation between wisdom and human mortality owing to which it is at least possible for the philosopher who has made sufficiently progress in his efforts to gain wisdom to find lasting happiness in death. (shrink)

By concentrating on abortion, the culture wars have avoided facing a crisis about the end of life. This paper explores four themes: (1) the technological transformation of birth and death into matters of decision, not matters of fact; (2) abortion as the nexus of Eros (sex) with Thanatos (death); (3) the real crisis, conveniently masked by our obsession with sex, looming at the end of life, not at its beginning; (4) the surplus-repression that protects us from assuming (...) responsibility for choosing between life and death. (shrink)

Drawing from religion and the human sciences, particularly psychology after Freud, the author attempts to demonstrate that the fear of death is man's central ...

The article offers a panoramic view of the tropes of “space” and “place” in the poetry of Avot Yeshurun, and explores the radical transformation they underwent throughout the years – from the early poems of the 1930s, to the last volume of poems published before the poet’s death in 1992. I contend that the shift in the nature of the Yeshurunian space, caused by the catastrophe of the Shoah, the foundation of the State of Israel, and the Palestinian Nakba (...) that proceeded it, can be viewed through the prism of what I call “the problem of transference”. Struggling to re-connect the now insurmountably severed worlds – the pre-catastrophe world of the golah, and the new, post-catastrophe, Israeli world – Yeshurun’s poetry exhibits an ever-growing tendency to transfer language-materials from one side of the abyss to the other, desperately attempting to both salvage the remains of the ruined home, and establish the new world as a proper dwelling place. This back-and-forth movement of traumatic transference, I argue, is a powerful interpretive tool by which to understand the poet’s entire poetic project and to account for its peculiarities, and above all - its famous “clash of languages” which consists of Hebrew, Yiddish, and Arabic. (shrink)

The ancient philosophical school of Epicureanism tried to argue that death is "nothing to us." Were they right? James Warren provides a comprehensive study and articulation of the interlocking arguments against the fear of death found not only in the writings of Epicurus himself, but also in Lucretius' poem De rerum natura and in Philodemus' work De morte. These arguments are central to the Epicurean project of providing ataraxia (freedom from anxiety) and therefore central to an understanding of (...) Epicureanism as a whole. They also offer significant resources for modern discussions of the value of death--one which stands at the intersection of metaphysics and ethics. If death is the end of the subject, and the subject can not be benefited nor harmed after death, is it reasonable nevertheless to fear the ceasing-to-be? If the Epicureans are not right to claim that the dead can neither be benefited nor harmed, what alternative models might be offered for understanding the harm done by death and do these alternatives suffer from any further difficulties? The discussion involves consideration of both ethical and metaphysical topics since it requires analysis not only of the nature of a good life but also the nature of personal identity and time. A number of modern philosophers have offered criticisms or defences of the Epicureans' views. Warren explores and evaluates these in the light of a systematic and detailed study of the precise form and intention of the Epicureans' original arguments. Warren argues that the Epicureans also were interested in showing that mortality is not to be regretted and that premature death is not to be feared. Their arguments for these conclusions are to be found in their positive conception of the nature of a good and complete life, which divorce the completeness of a life as far as possible from considerations of its duration. Later chapters investigate the nature of a life lived without the fear of death and pose serious problems for the Epicureans being able to allow any concern for the post mortem future and being able to offer a positive reason for prolonging a life which is already complete in their terms. (shrink)

A significant portion of the secondary literature on Martin Heidegger’s Being and Time has focused on interpreting his formal conceptions of death and anxiety. Unlike these previous works, this essay will serve to fill a gap in the Heideggerian portrayal of death. Although he argues that Dasein is anxious about death at a fundamental level and that it proximally and for the most part covers up such anxiety, Heidegger does not provide ontic evidence in support of his (...) claim, instead opting to uncharacteristically take it as something self-evident. I attempt to supplement Heidegger’s framework by introducing Stephen Cave’s immortality narratives and the emerging field of Terror Management Theory as the aforementioned ontic evidence that rounds out Heidegger’s notion of death, before ultimately transitioning from Heidegger’s work into the larger philosophical discourse on death and demonstrating the potential joy that can manifest when one gains a lucid understanding of the ownness of their death and the narratives to which it gives rise. (shrink)

In her book Faces of Inequality, Sophia Moreau poses the question: ‘why is inequality wrongful?’ She answers in insightful and coherent ways that promise important applications in the development o...

In his posthumously published Living Up to Death Paul Ricoeur left an impressive testimony on what it means to live at a high old age with death approaching. In this article I present him as a teacher who reminds us of valuable lessons taught by patients in palliative care and their caretakers who accompany them on their way to death, and also as a guide in our search for a modern ars moriendi, after—what many at least experience (...) as—the breakdown of traditional religious belief in a personal afterlife. These lessons can be summarized in the following theses. ‘Living up to death, one cannot experience one’s own death. Therefore, never consider someone dying as moribund’. ‘Though everybody is alone in dying, nobody should die alone.’ ‘The preparation for death is an affirmation of life’. ‘Life experienced as a gift can be given up’. The plausibility of the last thesis, however, may go beyond the confines of austere philosophical thinking. (shrink)

Background Assisted death, including euthanasia and physician-assisted suicide (PAS), is under debate worldwide, and these practices are adopted in many Western countries. Physicians’ attitudes toward assisted death vary across the globe, but little is known about physicians’ actual reactions when facing a request for assisted death. There is a clear gap in evidence on how physicians act and respond to patients’ requests for assisted death in countries where these actions are not legal. Methods A survey (...) including statements concerning euthanasia and PAS and an open question about their actions when facing a request for assisted death was sent to all Finnish physicians. Quantitative data are presented as numbers and percentages. Statistical significance was tested by using the Pearson chi-square test, when appropriate. The qualitative analysis was performed by using an inductive content analysis approach, where categories emerge from the data. Results Altogether, 6889 physicians or medical students answered the survey, yielding a response rate of 26%. One-third of participants agreed or partly agreed that they could assist a patient in a suicide. The majority (69%) of the participants fully or partly agreed that euthanasia should only be accepted due to difficult physical symptoms, while 12% fully or partly agreed that life turning into a burden should be an acceptable reason for euthanasia. Of the participants, 16% had faced a request for euthanasia or PAS, and 3033 answers from 2565 respondents were achieved to the open questions concerning their actions regarding the request and ethical aspects of assisted death. In the qualitative analysis, six main categories, including 22 subcategories, were formed regarding the phenomenon of how physicians act when facing this request. The six main categories were as follows: providing an alternative to the request, enabling care and support, ignoring the request, giving a reasoned refusal, complying with the request, and seeing the request as a possibility. Conclusions Finnish physicians’ actions regarding the requests for assisted death, and attitudes toward euthanasia and PAS vary substantially. Open discussion, education, and recommendations concerning a request for assisted death and ethics around it are also highly needed in countries where euthanasia and PAS are not legal. (shrink)

Many religions offer hope for a life that transcends death and believers find great comfort in this. Non-believers typically do not have such hopes. In the face of death, they may find consolation in feeling contented with the life they have lived. But do they have hopes? I will identify a range of distinctly secular hopes at the end of life. Nothing stops religious people from sharing these secular hopes, in addition to their hope for eternal life. I (...) will distinguish between hopes about one’s life, hopes about one’s death, hopes about attitudes of others, and hopes about the future. But before turning to these hopes, I will reflect on the following question: What is it that would keep a person from hoping for eternal life? (shrink)