In lieu of an abstract, here is a brief excerpt of the content:SPACE-TIME AND THE COMMUNITY OF BEINGS: SOME COSMOLOGICAL SPECULATIONS INTRODUCTION XERT EINSTEIN, in his essay "Relativity and the Problem of Space," makes several interesting comments on the implications of relativity theory for the Newtonian concepts of absolute space and time. Among these are the following: Since the special theory of relativity revealed the physical equivalence of all inertial systems, it proved the untenability of the hypothesis of an aether (...) at rest. It was therefore necessary to renounce the idea that the electromagnetic field is to be regarded as a state of a material carrier. The field then becomes an irreducible element of physical description, irreducible in the same sense as the concept of matter in the theory of Newton.1 On the basis of the general theory of relativity..., space, as opposed to" what fills space," which is dependent on the coorrdinates, has no separate existence.2 There is no such thing as empty space, i.e., a space without field. Space-time does not claim existence on its own but only as a structural quality of the field. Thus Descartes was not so far from the truth when he believed he must exclude the existence of an empty space. The notion indeed appears absurd, as long as physical reality is seen exclusively in ponderable bodies. It requires the idea of the field as the representative of reality, in combination with the general principle of relativity, to show the true kernel of Descartes' idea; there exists no space " empty of field." 3 1 Albert Einstein, Relativity: The Special and the General Theory (New York, 1961), pp. 149-150. 2 Ibid., p. 155. s Ibid., pp. 155-156. 480 SPACE-TIME AND THE COMMUNITY OF BEING 481 Space-time is not necessarily something to which one can ascribe a separate existence, independently of the actual objects of physical reality. Physical objects are not in space, but these objects are spatially extended. In this way, the concept "empty space " loses its meaning.4 These statements raise some interesting questions for the philosopher working within the Judaeo-Christian metaphysical and cosmological tradition. Einstein's concept of the spacetime continuum constituted by the field (or by the plurality of fields seen as interrelated) amounts in effect to a reduction of space-time to relation, to that which is constituted by a universal relational network. One may ask whether this concept is, as many seem to believe, a demolition of the classical and Christian view of the world, or whether, on the contrary, it amounts to a rediscovery of that view from the perspective of the vocabulary of contemporary physics. To ask the question in a slightly different way: Does relativity have anything to do with relativism and hence with the anti-ontological thrust of the latter? This question inevitably involves us in the more general question how the physical structure of the cosmos does or does not reflect the ontological structure of being-i.e., how is the cosmos as known by physics related to the world-order as the intelligible object of a philosophical cosmology? How are the various levels of cosmic order, from inorganic matter to the human level, related to one another? It will be the contention of the present essay that the relativistic concept of the cosmos not only is not destructive of the classical and Christian one, but converges with it, because the latter is grounded in the concept of being as being, and being in turn must be understood as the universal concept and reality which has reality by virtue of the community of beings, i.e., by virtue of relation. These concepts will be further clarified in the course of the discussion. Let it be clearly understood, however, that what follows does not pretend to constitute a rigorous logical derivation of a cosmological system but is 4 Ibid.," Note to the Fifteenth Edition," p. vi. 482 GEORGE A. KENDALL rather a series of speculations, of brief glimpses of areas of convergence which have drawn attention to themselves in the course of the struggle for ontological and cosmological truth. As such, they are presented as a step along the way in the search for understanding, not as... (shrink)

This article investigates how Latin American women who migrate to the US frame their language experiences through narratives told in sociolinguistic interviews. As narratives reflect and shape social realities and relationships, narrative analysis can illuminate how individuals position themselves relative to language obstacles and ideologies, thus providing insights into processes that are central to the migration experiences of millions of individuals. We found that women related two types of stories: language conflict narratives, in which language was presented as part of (...) a broader ethnic or social conflict, and language difficulty narratives, which focused on individual, personal problems with language experienced by protagonists. Our analysis illustrates how interviewers’ questions, and the interviewees’ language conflict narratives in particular, confirm, reproduce, but also contest central language ideologies and dominant discourses about migration in the US. (shrink)

In Summa Theologiae I.76.1 Aquinas presents an argument for the hylomorphic union of body and soul that he attributes to Aristotle. Aquinas builds on Aristotle’s original argument, however, offering his own short but powerful line of reasoning in support of one of the main premises. This additional argument involves an appeal to the principle that nothing acts except insofar as it is in act. This principle has roots in the thought of Aristotle, but is not explicitly used by him. It (...) is, however, fundamental for Aquinas and pervasive throughout his work. In this paper I examine the principle and its implications for Aquinas’ version of the argument. Furthermore, I argue that the principle is foundational to Aquinas’ criticisms of Averroes’ account of the intellective soul and that its inclusion renders Aquinas’ version of the argument incompatible with Averroes’ view. (shrink)

This paper presents a clinically orientated illustration of the doctrine of double effect. The case of an elderly gentleman with advanced cancer is discussed, with particular emphasis on two dilemmas encountered during the terminal phase of his illness. The author describes how the doctrine of double effect was applied to help the team make some complex management decisions.

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective. Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1, p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays, p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action, in a sense which I explained. This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts. His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 328-344 [Access article in PDF] Spaces of Invention:Dissension, Freedom, and Thought in Foucault Kendall R. Phillips Over the past two decades, invention has become an increasingly difficult concept to discuss. In an age when the free, rational actor has become not only de-centered but viewed as both impossible and undesirable by some social theorists, the traditional conception of invention, especially rhetorical invention, becomes (...) more tenuous. While some continue to promote a rational deliberative model of the human subject—Habermas is a prime example of this school of thought—the harsh and unrelenting critiques of poststructural and postmodern thinkers have cast these recovery efforts in a nostalgic and often negative light. Chief among these critics of the modern, humanist conception of human action is Michel Foucault. Within Foucault's perspective our utterances are governed by underlying rules of discourse formations, our actions are proscribed and authorized by relations of power, and our very conception of our self is circumscribed by technologies of subjectivity. Contained within these intertwined relations of knowledge, power, and subjectivity, the human subject takes on a very different meaning and even the concept of "human subject" is itself a product of these intertwined relations; a product that may, in time, disappear under new relations of discourse and governance.Despite the apparent centrality of a creative human subject to the study of rhetoric, Foucault has taken his place within the study of rhetoric. Of course, neither this incorporation of Foucault nor the observation of its peculiarity is particularly new. The incorporation of Foucault into rhetoric took its most dramatic turn in 1989 with Raymie McKerrow's "Critical Rhetoric" essay and the implications of this union of Foucault and rhetoric were forcefully raised by Barbara Biesecker in "Michel Foucault and the Question of Rhetoric" (1992). These two important essays made the relationship between Foucault and rhetoric most pressing: McKerrow by offering [End Page 328] a practical agenda for a Foucaultian rhetorical perspective and Biesecker by opening a space for reflection on this type of agenda. In the intervening decade, however, the incorporation of Foucault into rhetoric has outstripped the reflection on this incorporation and Foucault now sits as comfortably in the bibliographies of rhetorical scholars as Burke or McKeon or Perelman.The purpose of the present essay is to revisit this relationship between Foucault and rhetoric. I pursue this end not in order to critique McKerrow's project or to outstrip Biesecker's reflections, but in order to press the importance of their earlier arguments. The project of a Foucaultian rhetoric should be taken seriously, seriously enough to keep the peculiarity of this union in the forefront of our minds as we pursue it. My present effort furthers this end by seeking within Foucault a space for invention and, in so doing, asks the question: how might invention be rendered within a Foucaultian framework?My contention is that a space for invention exists within Foucault's studies of knowledge, power, and subjectivity and that this space can be demonstrated by considering the counterpoints to his tripartite understanding of the human condition. The limiting/enabling relations of knowledge/power/subjectivity are counterpointed by three terms that describe the conditions for invention: dissension, freedom, and thought. Before turning to the conditions for these spaces of invention and the unique shape of invention that emerges from them, I will briefly consider previous discussions of Foucault. Power, resistance, and invention Rhetoricians, to be clear, are not the first to be concerned with the apparent foreclosing of the possibility of invention within Foucault. Focusing mainly on dominating relations of power/knowledge/subjectivity, Foucault seems to leave little ground for the creation of new ways of acting, speaking, or being. However, what I call a concern for invention has generally not been expressed as such; rather, in rhetoric and in other fields, criticism of Foucault has been largely couched in terms of resistance. Edward Said (1986), for instance, contends that Foucault's work is "not finally as contestatory, or as oppositional as on the surface it seems to be" (152... (shrink)

Sports and competitive games of many kinds—from tag to chess to baseball—are often occasions for make-believe. To participate either as a competitor or as a spectator is frequently to engage in pretense. The activities of playing and watching games have this in common with appreciating works of fiction and participating in children’s make-believe activities, although the make-believe in sports, masked by real interests and concerns, is less obvious than it is in the other cases. What is most interesting about tag (...) and chess and baseball, however, are the ways in which the make-believe they involve differs from other varieties. (shrink)

Kendal Mobley replies to Christopher Catherwood's article ‘Nationalism, ethnicity and tolerance: some historical, political and biblical perspectives’, published in Transformation, Vol 14, no. 1, January 1997, p. 10.

This paper argues that there is a relationship between understandings of anorexia nervosa (AN) and how the ethical issues associated with involuntary treatment for AN are identified, framed, and addressed. By positioning AN as a construct/discourse (hereinafter “AN: the diagnosis”) several ethical issues are revealed. Firstly, “AN: the diagnosis” influences how the autonomy and competence of persons diagnosed with AN are understood by decision-makers in the treatment environment. Secondly, “AN: the diagnosis” impacts on how treatment and treatment efficacy are defined (...) and the ethical justifiability of paternalism. Thirdly, “AN: the diagnosis” can limit the opportunity for persons with AN to construct an identity that casts them as a competent person. “AN: the diagnosis” can thus inherently affirm professional knowledge and values. Postmodern professional ethics can support professionals in managing these issues by highlighting the importance of taking responsibility for professional knowledge, values, and power and embracing moral uncertainty. (shrink)

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action , in a sense which I explained . This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts . His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)

Realist theories about fictional entities must explain the fact that, in ordinary contexts people deny, apparently in all seriousness, that there are such things as the Big Bad Wolf and Santa Claus. The usual explanation treats these denials as involving restricted quantification: The speaker is said to be denying only that the Big Bad Wolf and Santa Claus are to be found among real or actual things, not that there are no such things at all. This is unconvincing. The denials (...) may just as naturally be phrased as “The Big Bad Wolf and Santa Claus don't exist”, and claims of nonexistence seem not to admit of interpretations corresponding to statements of restricted quantification. Ordinary denials of the existence of fictional entities constitute a severe difficulty for realist theories. (shrink)

Classical Islamic thinker Ibn Rushd is widely recognized for his commentaries on Aristotle and his influence on Western Medieval and Renaissance thinkers. Understandably, his contributio...

In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.

The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to (...) several of the reprinted essays. (shrink)

I propose a way of understanding empathy on which it does not necessarily involve any-thing like thinking oneself into another’s shoes, or any imagining at all. Briefly, the empa-thizer uses an aspect of her own mental state as a sample, expressed by means of a phenomenal concept, to understand the other person. This account does a better job of explaining the connection between empathetic experiences and the objects of empathy than most traditional ones do. And it helps to clarify the (...) relations among different varieties of empathy and empathy-like experiences, including empathy with fictional characters. -/- . (shrink)

At some time between 1907 and 1912, probably very much nearer the earlier date, Bradley produced the first draft of an article on Christian morality. He did this in response to criticism that his moral ideas were anti-Christian. This charge was based mainly on the content of two articles that he published during 1894 in the International Journal of Ethics , one called ‘Some Remarks on Punishment’ and the other ‘The Limits of Individual and National Self-Sacrifice’. In these Bradley had (...) maintained that the conventional ‘Christian’ belief in the sacredness of life undermined any sensible approach to punishment and any clear understanding of the moral importance of self-assertion . It encouraged a squeamishness about retribution and ‘social surgery’. It devalued proper human ends and interests, and the rights and duties founded on them. There was needed ‘a correction of our moral view, and a return to a non-Christian and perhaps a Hellenic ideal’, one that would recognize the unlimited right of the moral organism to dispose of its members and to use force internationally in defence of right. Bradley pulled no punches and had this to say about the self-styled ‘Christian’ party. (shrink)

When a scientific paper, dissertation or thesis is published the author have a duty to report who has contributed to the work. This recognition can take several forms such as authorship, relevant acknowledgments and by citing previous work. There is a growing industry where publication consultants will work with authors, research groups or even institutions to help get their work published, or help submit their dissertation/thesis. This help can range from proof reading, data collection, analysis, helping with the literature review (...) and identifying suitable journals/conferences. In this opinion article we question whether these external services are required, given that institutions should provide this support and that experienced researchers should be qualified to carry out these activities. If these services are used, we argue that their use should at least be made transparent either by the consultant being an author on the paper, or by being acknowledged on the paper, dissertation or thesis. We also argue that publication consultants should provide an annual return that details the papers, dissertations and thesis that they have consulted on. (shrink)

One minor problem in understanding Bradley's moral philosophy is that of how he manages to combine a reverence for the ordinary man's moral sense with what amounts almost to contempt for the actual precepts of popular morality. The reverence seems clear. At the outset of Ethical Studies Bradley appears as the great defender of the plain man against the depredations of theorizing and cultivation. Contemporary moral philosophers were too sophisticated, with their cavalier disregard of the moral feelings and convictions of (...) uneducated people. Admittedly popular moral views had their limitations: they were neither all-comprehensive nor everywhere consistent. Still, ‘if we want a moral sense that has not yet been adulterated, we must not be afraid to leave enlightenment behind us’. (shrink)

We agree with Ramsey et al. regarding the need for new methods and concepts in the study of innovation, and welcome their initiative, but are concerned that their operationalization is over-reliant on subjective judgements.

Niche construction theory (NCT) can be applied to examine the influence of culturally constructed learning environments on the acquisition and retention of beliefs, values, role expectations, and skills. Thus, NCT provides a quantitative framework to account for cultural-historical contingency affecting development and cultural evolution. Learning in a culturally constructed environment is of central concern to many sociologists, cognitive scientists, and sociocultural anthropologists, albeit often from different perspectives. This article summarizes four pertinent theories from these fields—situated learning, activity theory, practice theory, (...) and distributed cognition. As a basis for interdisciplinary investigation, the article considers how these theories may be addressed using a cultural niche-construction framework, including the utility of an embedded model that explicitly accounts for effects of the constructed learning environment on within-individual learning dynamics in an evolutionary framework. (shrink)

Dissociative Identity Disorder is an uncommon disorder that has long been associated with exposure to traumatic stressors exceeding manageable levels commonly encompassing physical, psychological and sexual abuse in childhood that is prolonged and severe in nature. In DID, dissociation continues after the traumatic experience and produces a disruption in identity where distinct personality states develop. These personalities are accompanied by variations in behaviour, emotions, memory, perception and cognition. The use of literature in psychiatry can enrich comprehension over the subjective experience (...) of a disorder, and the utilisation of 'illness narratives' in nursing research have been considered a way of improving knowledge about nursing care and theory development. This research explores experiences of DID through close textual reading and thematic analysis of five biographical and autobiographical texts, discussing the lived experience of the disorder. This narrative approach aims to inform empathetic understanding and support the facilitation of therapeutic alliances in mental healthcare for those experiencing the potentially debilitating and distressing symptoms of DID. Although controversies surrounding the biomedical diagnosis of DID are important to consider, the lived experiences of those who mental health nurses encounter should be priority. (shrink)

The reader's access to the fictional world of a novel is mediated by the narrator, when there is one; the fictional world is presented from the narrator's perspective. do depictions ever have anything comparable to narrators? apparent artists sometimes have a certain perspective on the fictional world. but they don't mediate our access to it; the fictional world is presented independently of their perspective on it. depictions do present fictional worlds from certain perspectives, but not usually the perspectives of any (...) fictional characters. however, there are characters in some special depictions, especially certain films, who function very much like narrators. (shrink)

BackgroundParanoia is associated with a multitude of social cognitive deficits, observed in both clinical and subclinical populations. Empathy is significantly and broadly impaired in schizophrenia, yet its relationship with subclinical paranoia is poorly understood. Furthermore, deficits in emotion recognition – a very early component of empathic processing – are present in both clinical and subclinical paranoia. Deficits in emotion recognition may therefore underlie relationships between paranoia and empathic processing. The current investigation aims to add to the literature on social cognition (...) and paranoia by: characterizing the relationship between paranoia and empathy, and testing whether there is an indirect effect of emotion recognition on the relationship between empathy and paranoia.MethodsParanoia, empathy, and emotion recognition were assessed in a non-clinical sample of adults from the Nathan Kline Institute-Rockland dataset. Paranoia was measured using the Peters Delusions Inventory-21. Empathy was measured using the Interpersonal Reactivity Index, a self-report instrument designed to assess empathy using four subscales: Personal Distress, Empathic Concern, Perspective Taking, and Fantasy. Emotion recognition was assessed using the Penn Emotion Recognition Test. Structural equation modeling was used to estimate relationships between paranoia, the four measures of empathy and emotion recognition.ResultsParanoia was associated with the Fantasy subscale of the IRI, such that higher Fantasy was associated with more severe paranoia. No other empathy subscales were associated with paranoia. Fantasy was also associated with the emotion recognition of fear, such that higher Fantasy was correlated with better recognition of fear. Paranoia and emotion recognition were not significantly associated. The Empathic Concern subscale was negatively associated with emotion recognition, with higher empathic concern related to worse overall emotion recognition. All indirect paths through emotion recognition were non-significant.DiscussionThese results suggest that imaginative perspective-taking contributes to paranoia in the general population. These data do not, however, point to robust global relationships between empathy and paranoia or to emotion recognition as an underlying mechanism. Deficits in empathy and emotion recognition observed in schizophrenia may be associated with the broader pathology of schizophrenia, and therefore not detectable with subclinical populations. (shrink)

In this article, the author presents findings based on her research on BlueSky, an online interactive textbased forum. She discusses BlueSky participants' online performances of gendered and raced identities. Participants interpret their own and others' identities within the context of expectations and assumptions derived from offline U.S. culture, as well as from their membership in various computer-related subcultures. Given the predominance of white men on BlueSky, such identity interpretations also rely on expectations concerning masculinity and whiteness. The author explores BlueSky (...) participants' understandings of themselves as “nerds” and considers the implications of this nerd identity for their relationship to hegemonic masculinity, especially to expectations of heterosexuality. Analyzing online identity performances in this way provides information pertaining not just to online interaction but to a better understanding of the social construction of gendered and raced identities more generally. (shrink)

In this article we will be arguing in favour of legislating to protect doctors who bring about the deaths of PVS patients, regardless of whether the death is through passive means or active means. We will first discuss the ethical dilemmas doctors and lawmakers faced in the more famous PVS cases arising in the US and UK, before exploring what the law should be regarding such patients, particularly in Australia. We will continue by arguing in favour of allowing euthanasia in (...) the interests of PVS patients, their families, and finally the wider community, before concluding with some suggestions for how these ethical arguments could be transformed into a set of guidelines for medical practice in this area. (shrink)

It is a very great honor to address my friends and colleagues as president of the American Society for Aesthetics, an organization that plays a unique role in a field that is, at once, a major traditional branch of philosophy and also central to disciplines often regarded as remote from philosophy, as well as depending crucially on their contributions.

Prop oriented make-believe is make-believe utilized for the purpose of understanding what I call “props,” actual objects or states of affairs that make propositions “fictional,” true in the make-believe world. I, David Hills, and others have claimed that prop oriented make-believe lies at the heart of the functioning of many metaphors, and one variety of fictionalism in metaphysics invokes prop oriented make-believe to explain away apparent references to entities some find questionable or problematic (fictional characters, propositions, moral properties, numbers). Elisabeth (...) Camp has argued against my and David Hills’ views of metaphor. Her arguments, many of them echoed by Catharine Wearing, demolish a very implausible account of metaphor, but leave entirely untouched the views that Hills and I actually proposed. Clarifying what we say about metaphor serves also as a defense of fictionalist theories that invoke prop oriented make-believe. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die (...) style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

The potential benefits of an alternative to physical gestation are numerous. These include providing reproductive options for prospective parents who are unable to establish or maintain a physiological pregnancy, and saving the lives of some infants born prematurely. Ectogenesis could also promote sexual equality in reproduction, and represents a necessary option for women experiencing an unwanted pregnancy who are morally opposed to abortion. Despite these broad, and in some cases unique benefits, one major ethical concern is the potential impact of (...) this emerging technology on abortion rights. This article will argue that ectogenesis poses a challenge to many common arguments in favour of a pregnant woman’s right to choose, but only insomuch as it highlights that their underlying justifications for abortion are based on flawed conceptions of what the foetus and pregnancy actually are. By interrogating the various interests and relationships involved in a pregnancy, this article will demonstrate that the emergence of artificial gestation need not impact existing abortion rights or legislation, nor definitions of independent viability or moral status. (shrink)

The debate on the ethics of involuntary treatment for Anorexia Nervosa (AN) is dominated by biomedical ethics approaches to the issues. In keeping with the biomedical ethics emphasis on objectively balancing ethical principles, the debate centres on how to respect the autonomy of persons with AN who refuse treatment whilst protecting these persons from harm. Commentators discuss this at a normative ethics level. Thus, the debate does not address the moral relevance of how knowledge is constructed in the practice environment (...) and the impact this has on how professional values are applied during treatment decision making. Social work ethics highlights the need for professionals to account for the authority of professional knowledge and for patients to participate in treatment decisions. However, in the practice environment, questioning medical hegemony and supporting patient participation, empowerment and self-determination (core social work values) is complicated by a lack of treatment efficacy, the high level of risk that patients present to themselves and uncertainty around the autonomy and competence of the patient to refuse treatment. This paper argues that postmodern ethics can support practitioners in managing these issues. In doing so, this paper makes a social work contribution to the debate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetorical Maneuvers:Subjectivity, Power, and ResistanceKendall R. Phillips and James P. ZappenA sense of subjectivity as fluid, dynamic, and multiple has become almost orthodox throughout the humanities. The widespread influence of poststructural thought has seemingly routed earlier Enlightenment notions of a unified, transcendent subject and opened the door for critical approaches to the numerous and changing manifestations of human subjectivity. The fluidity of the human subject, however, is not without (...) its bounds or constraints. Indeed, the same line of poststructural thinking that served to de-center the Enlightenment subject, especially the work of Michel Foucault, also stipulated that the subject was positioned by larger formations of discourse over which they had limited if any control. These two sides of poststructural subjectivity—its fluidity and its positioning—establish not so much two divergent approaches, but the two poles between which the human subject can be thought to operate. In turn the two poles of the apparent fixity of the subject position and the seeming fluidity of the subjectivity manifested within that position suggest the kind of productive tension through which we are simultaneously limited and enabled by the discourse formations within which we operate and against which we, at times, resist.This productive tension between the multiplicity of the subject and the singularity of the subject position has, of course, been the focus of numerous inquiries. In his later work, Foucault attended to the processes by which the subject makes itself an object upon which work might be done and urged a more aesthetic approach to the continuous crafting of the self.1 Along similar lines, Judith Butler has conceived of the subject in terms of its performativity and the ways that the "I" is crafted through numerous and fluid citations of existing power relations. Conceived in this way, the notion of the "self" is a constantly changing object crafted and re-crafted out of the points of identification provided in the exterior fields of power and knowledge. These points of identification, in turn, provide symbolic anchors by which a subject is moored, at least temporarily, into a particular subject position within which they become identifiable and intelligible in terms of the broader formation of discourse. [End Page 310]In addition to posing a serious challenge to Enlightenment philosophy, this conception of the self as fluid and dynamic presents some vexing questions concerning the practices of self and the capacity of a subject to offer any meaningful challenge to the formations of discourse that constitute its existence. As Butler puts the problem, "The paradox of subjectivation (assujetissement) is precisely that the subject who would resist such norms is itself enabled, if not produced, by such norms" (1993, 15). The theoretical concerns over the relationship between agency and subjectivity also impact upon a series of political questions surrounding the nature and possibility of identity politics and recent debates concerning the importance and efficacy of gaining "recognition" as a political move.2 Whatever one's position within such debates, it is clear that the question of subjectivity and its concomitant questions of subjectivation and agency must be addressed in order to conceive of any kinds of democratic politics.The question of the subject, then, clearly entails broad philosophical and political implications. Rhetorical scholars have entered this conversation with a particular concern for the practices that both constitute and challenge the constitution of the self and many of these scholars have attended specifically to the points of friction between prescribed positions in which a subject is constituted and the dynamic nature of subjectivity as performed. Following from the works of Foucault, Barbara Biesecker (1992), for instance, urges attention to the canon of style as a crucially rhetorical element in the processes by which the individual negotiates relations of power, knowledge, and subjectivity. In a similar vein, Bradford Vivian draws from the works of Gilles Deleuze and Felix Guattari to suggest that rhetoricians recognize "that the self may be conceived as a form—a rhetorical form—that exists only in its continual and aesthetic creation, in its indefinite becoming" (2000, 304). The indefinite nature of this becoming is, for both Vivian and Deleuze and Guattari, a politically crucial insight into the ways that... (shrink)