Perceived discrimination has consistently been shown to be associated with diminished mental health, but the psychological processes underlying this link are less well understood. The present series of four studies assessed the role of a history traumatic events in generating a proliferation of discrimination stressors and threat appraisals, which in turn predict psychological distress (depressive and posttraumatic stress symptoms) (mediation model), or whether prior traumatic events sensitize group members, such that when they encounter discrimination, the link to stress-related symptoms is (...) heightened (moderation model). Each of the studies assessed a different marginalized group in Canada, including Indigenous peoples, Blacks, Jews, and a diverse sample of women. Participants completed measures assessing history of traumatic events, perceived explicit and ambiguous discrimination, discrimination threat appraisals, and symptoms of depression and posttraumatic stress. The four populations varied in their experiences, with Indigenous peoples encountering the highest levels of trauma, discrimination, and psychological distress symptoms. A mediated model was evident among Indigenous peoples and women, possibly reflecting the role of systemic processes that engender discrimination when traumatic events are experienced. There was evidence for a moderating role of a history of traumatic events on the relations between discrimination and depressive symptoms among Jewish and Black participants. Although the hypothesized synergistic effects of traumatic experiences were noted when assessing the relation between perceived discrimination and depressive symptoms among Jews, the presence of trauma blunted these relations among Blacks. The results suggest that trauma-informed approaches to addressing stress-related processes and psychological outcomes need to consider the unique social context of members of various socially marginalized groups. (shrink)

Drawing on my experiences at a teaching-focused university, I show how locating the health humanities in first-year or introductory composition courses improves learning and offers an economical, flexible, and far-reaching approach to bringing a health humanities education to all baccalaureate-level learners, regardless of whether they aspire to careers in the health professions. In terms of improving learning, health humanities composition courses support the disciplinary aims of both fields. Accessible, relevant issues in the health humanities, such as interventions in health debates (...) or representations of illness and healthcare settings, nourish the cognitive and social conditions needed to develop college-level writing skills. The health humanities’ emphases on interdisciplinarity and suspending judgment also inform students’ writing abilities. Composition trains students to write rhetorically by considering purpose, context, genre, mode, and other factors when addressing an audience. This approach to writing helps pre-health humanists communicate intentionally and compassionately about health topics as well as the larger issues they call into question. Because students enroll in health humanities composition courses at an early, formative moment in their studies, they are poised to carry or “transfer” their knowledge to other courses, including those that might prepare them for the workforce. (shrink)

Liz Jackson is Professor of Education and Head of Department of International Education at the Education University of Hong Kong. Liz served as the President of the Philosophy of Education Society...

The Northern Irish footballer James McClean chooses not to take part in the practice of wearing a plastic red poppy to commemorate those who have died fighting for the British Armed Forces. Each year he faces abuse, including occasional death threats, for his choice. This forms part of a wider trend towards ‘poppy enforcement’, the pressuring of people, particularly public figures, to wear the poppy. This enforcement seems wrong in part because, at least in some cases, it involves abuse. But (...) is there anything else wrong with it? We will consider the various ways the existing literature on the ethics of commemoration might help us understand what is wrong with poppy enforcement. We will argue that this cannot provide a complete account of what is wrong with poppy enforcement. We then argue that such pressure can constitute two distinct forms of affective injustice, which are wrongs done to people specifically in their capacity as affective beings. In McClean’s case, we argue first that poppy enforcement is a violation of affective rights and second that he faces a particular type of affective injustice that we call emotional imperialism. (shrink)

Is it appropriate to honour and admire people who have created great works of art, made important intellectual contributions, performed great sporting feats or shaped the history of a nation if those people have also acted immorally? This book provides a philosophical investigation of this important and timely question. -/- The authors draw on the latest research from ethics, value theory, philosophy of emotion, social philosophy and social psychology to develop and substantiate arguments that have been made in the public (...) debates about this issue. They offer a detailed analysis of the nature and ethics of honour and admiration, and present reasons both in favor and against honouring and admiring the immoral. They also take on the important matter of whether we can separate the achievements of public figures from their immoral behavior. Ultimately, the authors reject a "one-size-fits-all" approach and argue that we must weigh up the reasons for and against honouring and admiring in each particular case. -/- Honouring and Admiring the Immoral is written in an accessible style that shows how philosophy can engage with public debates about important ethical issues. It will be of interest to scholars and students working in moral philosophy, philosophy of emotion, and social philosophy. (shrink)

Questions central to the ontology of art include the following: what sort of things are works of art? Do all works of art belong to any one basic ontological category? Do all or only some works have multiple instances? Do works have parts or constituents, and if so, what is their relation to the work as a whole? How are particular works of art individuated? Are they created or discovered? Can they be destroyed? Explicit and extensive treatments of these topics (...) written prior to the 19th century have yet to be found. This does not mean, however, that there is nothing relevant to these ontological questions in early writings on beauty, the arts, and related matters. For example, Aristotle's claims about the functions and elements of tragedy can be mined for ideas about the nature of literary works more generally. And what can be made of the hint, in Metaphysics Eta, 6, that the unity of The Iliad is a matter of a set of words made “one” by being connected together? Rather than attempting to make conjectures about such difficult exegetical topics, this entry focuses primarily on contributions made by authors who explicitly address themselves at length to some of the aforementioned questions pertaining to the ontology of works of art, either in general or with reference to such major art forms as music, literature, painting, architecture, and sculpture. One further note about the scope of this entry is in order. Instructive surveys of the subfield of aesthetics known as the ontology of art are fairly plentiful; see Nicholas Wolterstorff, Gregory Currie, Joseph Margolis, Stephen Davies, Amie Thomasson, Guy Rohrbaugh, Theodore Gracyk, Robert Stecker, and Carl Matheson and Ben Caplan. Surveys of the history of the field have not, however, been forthcoming, and the comments on this topic that crop up in the literature are sketchy and sometimes quite misleading. One shortcoming has been a marked tendency to focus on contributions from the last two decades of the 20th century, the one salient exception being due attention paid to works by Roman Ingarden. The present entry has been designed with this shortcoming in mind. A schematic mapping of questions and positions is provided and reference is made to neglected, earlier contributions to the ontology of art. (shrink)

Cognitive Science, Volume 46, Issue 1, January 2022.

Feminist theory needs both explanatory-diagnostic and anticipatory-utopian moments in order to be truly critical and truly feminist. However, the explanatory-diagnostic task of analyzing the workings of gendered power relations in all of their depth and complexity seems to undercut the very possibility of emancipation on which the anticipatory-utopian task relies. In this paper, I take this looming paradox as an invitation to rethink our understanding of emancipation and its relation to the anticipatory-utopian dimensions of critique, asking what conception of emancipation (...) is compatible with a complex explanatory-diagnostic analysis of contemporary gender domination as it is intertwined and entangled with race, class, sexuality, and empire. I explore this question through an analysis of two specific debates in which the paradoxical relationship between power and emancipation emerges in particularly salient and seemingly intractable forms: debates over subjection and modernity. Drawing on the work of Michel Foucault, I argue that a negativistic conception of emancipation offers the best way for feminist critical theory to transform the paradox of power and emancipation into a productive tension that can fuel critique. (shrink)

What, if anything, is problematic about the involvement of celebrities in democratic politics? While a number of theorists have criticized celebrity involvement in politics (Meyer 2002; Mills 1957; Postman 1987) none so far have examined this issue using the tools of social epistemology, the study of the effects of social interactions, practices and institutions on knowledge and belief acquisition. This paper will draw on these resources to investigate the issue of celebrity involvement in politics, specifically as this involvement relates to (...) democratic theory and its implications for democratic practice. We will argue that an important and underexplored form of power, which we will call epistemic power, can explain one important way in which celebrity involvement in politics is problematic. This is because unchecked uses and unwarranted allocations of epistemic power, which celebrities tend to enjoy, threaten the legitimacy of existing democracies and raise important questions regarding core commitments of deliberative, epistemic, and plebiscitary models of democratic theory. We will finish by suggesting directions that democratic theorists could pursue when attempting to address some of these problems. (shrink)

Our exemplar of a Native American relational ethic is depicted through the Seven Grandfather Teachings, an ancient sacred story of Potawatomi and Ojibwe peoples. These teachings state that human beings are responsible to act with wisdom, respect, love, honesty, humility, bravery, and truth toward each other and all creation. We illustrate the possible uses of this ethic through exercises wherein students reflect on the values and learn lessons related to ethics, leadership, teamwork, and relationships, or create stories using Native American (...) story form. (shrink)

A work of music is repeatable in the following sense: it can be multiply performed or played in different places at the same time, and each such datable, locatable performance or playing is an occurrence of it: an item in which the work itself is somehow present, and which thereby makes the work manifest to an audience. As I see it, the central challenge in the ontology of musical works is to come up with an ontological proposal (i.e. an account (...) of what sort of thing a work of music is) which enables us to explain what such repeatability consists in, whilst doing maximal justice to the way in which we conceive of musical works in our reflective critical and appreciative practice. To this end, many have found it tempting to defend some version or other of the type-token theory : the thesis that a work is a type and its occurrences are its tokens. Much of the early debate prompted by the publication of Jerrold Levinson's seminal 'What a Musical Work Is' in 1980 has taken the type-token theory for granted, choosing to focus on how musical works, qua types, are individuated. (A key question here has been whether we should hold, with the sonicist , that works are identical just in case they sound exactly alike; or whether we should agree with Levinson's contextualist thesis that exact sound-alikes are distinct, if composed in distinct musico-historical contexts.) More recently, however, the type-token theory itself has been put under pressure, and alternatives have been suggested. So, e.g. Gregory Currie and David Davies have held versions of the thesis that musical works (and artworks generally) are acts of composition, whilst Guy Rohrbaugh has recommended that we think more innovatively about our metaphysical categories, and treat musical works (along with all repeatable artworks) as historical individuals . Historical individuals, like particular substances, come into and go out of existence, could have been somewhat different than they are, and can change through time; but such items, unlike particular substances, are nonetheless capable of having occurrences. In the last few years, ontologists of music have also stepped back to consider the very nature of their enterprise. In particular, a debate has ensued concerning the cogency of ontological proposals (such as those of Nelson Goodman, Nicholas Wolterstorff and Julian Dodd) that are substantially revisionary of our folk concept of a work of music. Amie Thomasson, David Davies and Andrew Kania occupy, to a greater or lesser degree, the descriptivist standpoint, according to which such revisionary ontologies are misconceived. The debate between revisionists and descriptivists in the ontology of music – if prosecuted against the backdrop of an awareness of developments in meta-ontology more generally – is a particularly fertile area in the philosophy of music at present. Author Recommends Wollheim, Richard. Art and its Objects . 2nd ed. Cambridge: Cambridge University Press, 1980. This seminal study nicely introduces and motivates the type-token theory, and in the course of doing so, helpfully, although perhaps contentiously, distinguishes types from both sets and properties. Wollheim's treatment was to a large part responsible for stimulating the subsequent debate as to the ontological nature of musical works. Levinson, Jerrold. 'What a Musical Work Is.' Journal of Philosophy 77 (1980); reprinted in his Music, Art and Metaphysics , 63–88. This paper has, perhaps, been the most influential account of the nature of musical works, post-Wollheim. Presuming the type-token theory to be correct, Levinson elaborates it by claiming musical works to be, not sound structures (i.e. structured patterns of sound-types), but a species of types he calls indicated structures . According to Levinson, a work of music is not to be identified with its sound structure, S ; it is, in fact, a compound of S and a performance-means structure, PM , as indicated (typically, via a score) by its composer on a certain occasion : something that we can represent as S/PM -as-indicated-by- X -at- t . Such indicated structures, Levinson argues, fit the bill for being what works of music are, because they come into being with their indication (i.e. their composition), are individuated in terms of the musico-historical context in which they were composed, and have their specified performance-means (i.e. their instrumentation) essentially. Wolterstorff, Nicholas. Works and Worlds of Art . Oxford: Clarendon Press, 1980. Part I of this book sees Wolterstorff defend a Platonistic version of the type-token theory (although Wolterstorff calls them 'kinds' rather than 'types'). According to Wolterstorff, considerations about the existence conditions of types commit us to the thesis that works of music, qua types, are entities that cannot come into or go out of existence. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. In this article, Kivy ingeniously (and wittily) defends a variety of Platonism about works of music against the animadversions of Levinson. Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Here Currie introduces and defends the thesis that works of music (and, indeed, all artworks) are compositional action-types. The book also contains some well-aimed criticisms of Levinson's account. Dodd, Julian. Works of Music: An Essay in Ontology . Oxford: Oxford University Press, 2007. In this book, Dodd defends the type-token theory, but argues that no version of it can escape the Platonisic consequence that musical works exist at all times (and hence, are discovered, rather than created, by their composers). Dodd also defends another controversial thesis, this time concerning musical works' individuation. According to Dodd, and pace Levinson and others, sonicism is correct: works that sound exactly alike are identical. Rohrbaugh, Guy. 'Artworks as Historical Individuals.' European Journal of Philosophy 11 (2003): 177–205. In this essay, Rohrbaugh makes some pointed criticisms of the type-token theory of repeatable artworks in the course of arguing that such works should be viewed, not as types, but as historical individuals (see above). Rohrbaugh suggests that treating musical works as historical individuals best captures our intuitions about such works' temporal and modal characteristics, and, in the course of elaborating his position, he makes some meta-ontological claims that see him endorsing a non-revisionary, descriptivist approach to the ontology of art. As Rohrbaugh sees it, ontologies of art are 'beholden to our artistic practices' (179), and 'aesthetics should not be beholden to the metaphysics on offer, but rather should drive new work in metaphysics' (197). Ridley, Aaron. 'Against Musical Ontology,' Journal of Philosophy 100 (2003): 203–220. This paper sees Ridley outlining a sceptical attitude towards the project of formulating ontological proposals. In his view, a 'serious philosophical engagement with music is orthogonal to, and may well in fact be impeded by, the pursuit of ontological issues' (203). Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics.' JAAC 63 (2005:221–9). Thomasson defends descriptivism in the ontology of art by arguing that such a position is a consequence of the only defensible solution to a problem in the theory of reference: the so-called 'qua' problem concerning how the reference of a term can be fixed. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Davies' position is characterised by two theses: one methodological, the other ontological. The methodological claim is that the ontology of art faces a pragmatic constraint : roughly speaking, the ontology of art is answerable to the epistemology of art. The ontological claim is that the rigorous enforcement of the pragmatic constraint commits us to the thesis that all artworks are compositional action-tokens. Online Materials http://www.blackwell-compass.com/subject/philosophy/article_view?article_id=phco_articles_bpL173 Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–34. doi: [DOI link] http://www3.interscience.wiley.com/journal/118557784/abstract Thomasson, Amie. 'Debates about the Ontology of Art: What are We Doing Here?' Philosophy Compass 1/3 (2006): 245–55. doi: [DOI link] http://www3.interscience.wiley.com/journal/122517227/abstract Davies, David. 'Works and Performances in the Performing Arts.' forthcoming in Philosophy Compass . doi: [DOI link] http://plato.stanford.edu/entries/music/ Kania, Andrew. 'The Philosophy of Music.' Stanford Encyclopedia of Philosophy . Sample Mini-Syllabus Week 1: The Type/Token Theory Introduced Wollheim, Richard. Art and its Objects , §§4–8, 21–3, 35–7. Kivy, Peter. Introduction to a Philosophy of Music , chapter 11. Oxford: Clarendon Press, 2002. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 1. Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Week 2: The Type/Token Theory and Platonism in Music Wolterstorff, Nicholas. Works and Worlds of Art , chapter 2. Levinson, Jerrold. 'What a Musical Work Is'. Dodd, Julian. Works of Music: An Essay in Ontology , chapters 2–5. Kivy, Peter. 'Platonism in Music: A Kind of Defence.' Grazer Philosophische Studien 19 (1983): 109–29. Kivy, Peter. 'Platonism in Music: Another Kind of Defence.' American Philosophical Quarterly 24 (1987): 245–52. Predelli, Stefano. 'Against Musical Platonism.' British Journal of Aesthetics 35 (1995): 338–50. Caplan, Ben and Carl Matheson. 'Can a Musical Work be Created?' British Journal of Aesthetics 44 (2004): 113–34. Week 3: Musical Works as Indicated Structures Levinson, Jerrold. 'What a Musical Work Is'. Levinson, Jerrold. 'What a Musical Work Is, Again', in his Music, Art and Metaphysics . Ithaca, NY: Cornell UP, 1990. 215–63. Dodd, Julian. 'Musical Works as Eternal Types.' British Journal of Aesthetics 40 (2000). Davies, Stephen. Musical Works and Performances: A Philosophical Account , chapter 2. Oxford: Oxford University Press, 2000. Howell, Robert. 'Types, Indicated and Initiated.' British Journal of Aesthetics 42 (2002): 105–27. Caplan, Ben and Carl Matheson. 'Fine Individuation.' British Journal of Aesthetics 47 (2007): 113–37. Week 4: Musical Work as Historical Individuals Rohrbaugh, Guy. 'Artworks as Historical Individuals'. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 6. Caplan, Ben and Carl Matheson. 'Defending Musical Perdurantism.' British Journal of Aesthetics 46 (2006): 59–69. Caplan, Ben and Carl Matheson. 'Defending "Defending Musical Perdurantism".' British Journal of Aesthetics 48 (2008): 331–37. Week 5: Musical Works as Compositional Actions Currie, Gregory. An Ontology of Art . New York: St, Martin's Press, 1989. Davies, David. Art as Performance . Oxford: Blackwell, 2004. Dodd, Julian. Works of Music: An Essay in Ontology , chapter 7. Week 6: Meta-ontology of Music: What are we Doing When we do the Ontology of Music? Ridley, Aaron. 'Against Musical Ontology'. Thomasson, Amie. 'The Ontology of Art and Knowledge in Aesthetics'. Thomasson, Amie. Ordinary Objects , chapter 11. OUP, 2007. Davies, David. 'The Primacy of Practice in the Ontology of Art.' Journal of Aesthetics and Art Criticism 67 (2009): 159–72. Kania, Andrew. 'Piece for the End of Time: In Defence of Musical Ontology,' British Journal of Aesthetics 48 (2008): 65–79. Kania, Andrew. 'The Methodology of Musical Ontology: Descriptivism and its Implications.' British Journal of Aesthetics 48 (2008): 426–44. Cameron, Ross. 'There are No Things That are Musical Works.' British Journal of Aesthetics 48 (2008): 295–314. Dodd, Julian. 'Musical Works: Ontology and Meta-Ontology.' Philosophy Compass 3/6 (2008): 1113–1134. doi: [DOI link] Focus Questions 1. Are musical works literally created by their composers? 2. Critically examine Levinson's thesis that musical works are 'indicated structures'. 3. What, if anything, is wrong with the thesis that musical works are identical just in case they sound exactly alike? 4. Should we immediately be sceptical of ontological proposals for works of music that are substantially revisionary of the way in which we ordinarily think of them? (shrink)

The tension between reason and power has a long and illustrious history in political theory. In his magnum opus of legal and political theory, "Between Facts and Norms," Jürgen Habermas presents his most complex, sophisticated, and ambitious attempt to confront this tension. My thesis in this article is that though Habermas’s political theory thematizes the tension between reason and power in a way that is initially quite promising, he ultimately forecloses that tension in the direction of a rationality that has (...) been conceptually and methodologically purified of the strategic power relations that pervade social reality. His attempt to insulate his Arendtian notion of communicative power (which he conceptualizes in BFN as a force of legitimation) from strategic power is not only unattainable in practice, I argue, but conceptually incoherent. This should compel him not to abandon his normative theoretical and political agenda, I suggest, but to defend it in a more contextualist way than he has been willing to do up until now. (shrink)

Applying the graded response model within the item response theory framework, the present study analyzes the psychometric properties of Karwowski’s creative self-efficacy scale. With an ethnically diverse sample of US college students, the results suggested that the six items of the CSE scale were well fitted to a latent unidimensional structure. The scale also had adequate measurement precision or reliability, high levels of item discrimination, and an appropriate range of item difficulty. Gender-based differential item functioning analyses confirmed that there were (...) no differences in the measurement results of the scale concerning gender. Additionally, openness to experience was found to be positively related to the CSE scale scores, providing some support for the scale’s convergent validity. Collectively, these results confirmed the psychometric soundness of the CSE scale for measuring CSE and also identified avenues for future research. (shrink)

In this paper, I examine Iris Marion Young's conception of power, arguing that it is incomplete in at least two ways. First, Young tends to equate the term power with the narrower notions of ‘oppression’ and ‘domination.’ Thus, Young lacks a satisfactory analysis of individual and collective empowerment. Second, as Young herself admits, it is not obvious that her analysis of power can be useful in the context of thinking about transnational justice. I conclude by considering one way in which (...) Young's analysis of power needs to be extended or perhaps modified in order to do justice to questions of transnational justice. (shrink)

This paper re-examines the relationship between power, reason and history in Horkheimer and Adorno’s "Dialectic of Enlightenment." Contesting Habermas’ highly influential reading of the text, I argue that "Dialectic of Enlightenment," far from being a dead-end for critical theory, opens up important lines of thought in the philosophy of history that contemporary critical theorists would do well to recover. My focus is on the relationship that Horkheimer and Adorno trace between enlightenment rationality and the domination of inner and outer nature.

This chapter contains sections titled: Subjection and Autonomy: Foucault contra Habermas What Is Fallacious About the Genetic Fallacy? Conclusion References.

In some sense, bioethics was built on conflicts. Abortion, physician‐assisted suicide, patients’ demand for autonomy all are staple and contentious issues. And the controversies continue to proliferate. What forum best serves such debates? A look at political theories of democracy can help answer that question. The most promising for bioethics debates are theories that ask citizens and officials to justify any demands for collective action by giving reasons that can be accepted by those who are bound by the action. This (...) conception has come to be known as deliberative democracy. (shrink)

In his account of critical theory as diagnosing social pathologies of reason, Axel Honneth has rehabilitated the analogy between critical theory and psychoanalysis – according to which the critical theorist stands in relation to the pathological social order as the analyst stands in relation to the analysand, and the aim of critical theory is to effect the diagnosis and, ultimately, the cure of social disorders or pathologies. In this article, I show that Honneth, like Habermas before him, has an overly (...) rationalistic understanding of how psychoanalysis works and crucially downplays the role of affect in the therapeutic process of working through. Looking to Freud’s papers on analytic technique, I show that psychoanalysis works first and foremost not through rational insight, but rather through the dynamic reworking of affect. I then discuss some of the implications of this for Habermas and Honneth’s conceptualization of critical theory. (shrink)

This paper examines Young’s conception of power, arguing that it is incomplete, in at least two ways. First, Young tends to equate the term power with the narrower notions of ‘ oppression ’ and ‘domination’. Thus, Young lacks a satisfactory analysis of individual and collective empowerment. Second, as Young herself admits, it is not obvious that her analysis of power can be useful in the context of thinking about transnational justice. Allen concludes by considering one way in which Young’s analysis (...) of power needs to be extended or perhaps modified in order to do justice to questions of transnational justice. (shrink)

If, as Axel Honneth has recently argued, critical theory needs psychoanalysis for meta-normative and explanatory reasons, this does not settle the question of which version of psychoanalysis critical theorists should embrace. In this paper, I argue against Honneth's favoured version – an intersubjectivist interpretation of Winnicott's object-relations theory – and in favour of an alternative based on the drive-theoretical work of Melanie Klein. Klein's work, I argue, provides critical theorists with a more realistic conception of the person and a richer (...) explanatory account of human aggression and destructiveness than does Honneth's intersubjectivist view. As such, it better serves the ends for which Honneth claims that critical theory should turn to psychoanalysis in the first place. (shrink)

In this article, I take up one strand – arguably the central one – of the Foucault/Habermas debate: their respective accounts of subjectivation. Against those who hold that Foucault and Habermas occupy such drastically different theoretical perspectives as to preclude the integration of their views into a common framework, I begin to lay the groundwork for an account of subjectivation that draws on the conceptual insights to be found on each side of the debate. While both Foucault and Habermas offer (...) a one-sided analysis of subjectivation – Foucault emphasizes its power-ladenness, and Habermas its communicative, rational, intersubjective aspects – I argue that subjectivation necessarily entails both communicative rationality and power relationships. I then consider the implications of my comparative argument for both Foucault and Habermas’s broader philosophical projects. (shrink)

This article re-examines the closing sections of Michel Foucault's The Order of Things in order to address the longstanding question of whether he is best understood as a philosopher or a historian. My central argument is that this question misses the crucial point of Foucault's work, which is to historicize the notion of history, which Foucault takes to be central to the historical a priori of modernity. An examination of his historicization of History thus reveals that Foucault is neither simply (...) a philosopher—because he conceives of philosophy in modernity as a historical enterprise—nor a historian—because his own historical approach is designed to transform the modern historical a priori from within. This analysis also sheds new light of Foucault's relationship to psychoanalysis and his conception of critique. (shrink)

A collection of essays on the work of Latin American philosopher Enrique Dussel, focusing on his ethics of liberation.

Neural substrates of fatigue in traumatic brain injury are not well understood despite the considerable burden of fatigue on return to productivity. Fatigue is associated with diminishing performance under conditions of high cognitive demand, sense of effort, or need for motivation, all of which are associated with cognitive control brain network integrity. We hypothesize that the pathophysiology of TBI results in damage to diffuse cognitive control networks, disrupting coordination of moment-to-moment monitoring, prediction, and regulation of behavior. We investigate the cingulo-opercular (...) and frontoparietal networks, which are engaged to sustain attention for task and maintain performance. A total of 61 individuals with mild TBI and 42 orthopedic control subjects participated in functional MRI during performance of a constant effort task requiring altering the amount of effort utilized to manually squeeze a pneumostatic bulb across six 30-s trials. Network-based statistics assessed within-network organization and fluctuation with task manipulations by group. Results demonstrate small group differences in network organization, but considerable group differences in the evolution of task-related modulation of connectivity. The mild TBI group demonstrated elevated CO connectivity throughout the task with little variation in effort level or time on task, while CO connectivity diminished over time in controls. Several interregional CO connections were predictive of fatigue in the TBI group. In contrast, FP connectivity fluctuated with task manipulations and predicted fatigue in the controls, but connectivity fluctuations were delayed in the mild traumatic brain injury group and did not relate to fatigue. Thus, the mTBI group’s hyper-connectivity of the CO irrespective of task demands, along with hypo-connectivity and delayed peak connectivity of the FP, may allow for attainment of task goals, but also contributes to fatigue. Findings are discussed in relation to performance monitoring of prediction error that relies on internal cues from sensorimotor feedback during task performance. Delay or inability to detect and respond to prediction errors in TBI, particularly evident in bilateral insula-temporal CO connectivity, corresponds to day-to-day fatigue and fatigue during task performance. (shrink)

In a late discussion of Kant’s essay, “Was ist Aufklärung?,” Foucault credits Kant with posing “the question of his own present” and positions himself as an inheritor of this Kantian legacy.1 Foucault has high praise for the critical tradition that emerges from Kant’s historical-political reflections on the Enlightenment and the French Revolution; Kant’s concern in these writings with “an ontology of the present, an ontology of ourselves” is, he says, characteristic of “a form of philosophy, from Hegel, through Nietzsche and (...) Max Weber, to the Frankfurt School,” a form of philosophy in which Foucault, perhaps surprisingly, situates his own work. (shrink)

In this paper, we investigate the diachronic fittingness conditions of admiration – that is, what it takes for a person to continue or cease to be admirable over time. We present a series of cases that elicit judgements that suggest different understandings of admiration over time. In some cases, admirability seems to last forever. In other cases, it seems that it can cease within a person’s lifetime if she changes sufficiently. Taken together, these cases highlight what we call the puzzle (...) of admiration over time. We then present a potential solution to this puzzle. (shrink)

Discover the tools you need to get (and keep) your creative juices flowing! Tangerine has developed a series of exercises to help you develop a positive mindset, prioritize your time, and keep you creating day after day.

Irrelevant emotional stimuli often capture attention, disrupting ongoing cognitive processes. In two experiments, we examined whether availability of rewards can prevent...

In this essay I will explore an understanding of the potential moral agency of robots; arguing that the key characteristics of physical embodiment; adaptive learning; empathy in action; and a teleology toward the good are the primary necessary components for a machine to become a moral agent. In this context; other possible options will be rejected as necessary for moral agency; including simplistic notions of intelligence; computational power; and rule-following; complete freedom; a sense of God; and an immaterial soul. I (...) argue that it is likely that such moral machines may be able to be built; and that this does not diminish humanity or human personhood. (shrink)

Lawyers defending extractive corporations in transnational human rights and environmental cases tend to reflect the dominant ‘resolute advocacy’ model of litigation, which directs lawyers to aggres...

La Religieuse is a classic French Enlightenment work in its elucidation of forced religious vocation as well as the hypocrisy and abuses of the Catholic Church. In reviving and effectively re-envisioning the novel, filmmakers Jacques Rivette and Guillaume Nicloux succeed in bringing Diderot’s ideas to bear on contemporary issues such as the image and role of the Church post Vatican II, and the effects of patriarchal and religious oppression on the individual. This article examines the context and reception of all (...) three works (the original text and two film adaptations) and their engagement with specific historical circumstances as well as more universal concerns; by extension, this project represents an effort to probe the perhaps unexpected, continued interest in Diderot’s writings in popular culture today. An analysis of the literary and cinematic posterity of La Religieuse underscores the ongoing pertinence of French Enlightenment thought while illuminating the linked political and aesthetic inheritance of Diderot’s novel. (shrink)

La Religieuse is a classic French Enlightenment work in its elucidation of forced religious vocation as well as the hypocrisy and abuses of the Catholic Church. In reviving and effectively re-envisioning the novel, filmmakers Jacques Rivette and Guillaume Nicloux succeed in bringing Diderot’s ideas to bear on contemporary issues such as the image and role of the Church post Vatican II, and the effects of patriarchal and religious oppression on the individual. This article examines the context and reception of all (...) three works (the original text and two film adaptations) and their engagement with specific historical circumstances as well as more universal concerns; by extension, this project represents an effort to probe the perhaps unexpected, continued interest in Diderot’s writings in popular culture today. An analysis of the literary and cinematic posterity of La Religieuse underscores the ongoing pertinence of French Enlightenment thought while illuminating the linked political and aesthetic inheritance of Diderot’s novel. (shrink)

ABSTRACT Lucie Olbrechts-Tyteca's 1974 chapter on dissociation in the comic furthers our understanding of the rhetorical possibilities of dissociation, revealing how the concept can dismantle old worldviews and create new ones through laughter. Thanks to issues with translation and the chapter's obscure examples, however, this text has been largely overlooked by scholars. This article grounds the chapter's theories in examples with more contemporary resonance as a necessary first step toward understanding the full scope of Olbrechts-Tyteca's contributions to the concept of (...) dissociation. Considering Olbrechts-Tyteca's chapter in light of other texts from the New Rhetoric Project also calls attention to the ways that translation practices have shaped scholars' reception and use of the Project's concepts. (shrink)

A qualitative analysis of societal silences, demonstrating how the unsaid directs social action and shapes individual and collective lives.