This expanded edition of C L Hardin's ground-breaking work on colour features a new chapter, 'Further Thoughts: 1993', in which the author revisits the dispute ...

Many realists have maintained that the success of scientific theories can be explained only if they may be regarded as approximately true. Laurens Laudan has in turn contended that a necessary condition for a theory's being approximately true is that its central terms refer, and since many successful theories of the past have employed central terms which we now understand to be non-referential, realism cannot explain their success. The present paper argues that a realist can adopt a view of reference (...) according to which a theory might plausibly be said to be approximately true even though its central terms do not refer, or alternatively, he may construe reference in such a way as to assign reference to a range of successful older theories which includes Laudan's purported counterexamples. (shrink)

A significant number of asylum seekers who largely survived torture live in the United States. Asylum seekers have complex social and medical problems with significant barriers to health care access. When evaluating and providing care for survivors, health providers face important challenges regarding medical ethics and professional codes. We review ethical concerns in regard to accountability, the patient–physician relationship, and moral responsibilities to offer health care irrespective of patient legal status; competing professional responsibility toward society and the judiciary system; concerns (...) about the consistency of asylum seekers’ claims; ethical concerns surrounding involving trainees and researching within the evaluation setting; and the implication of broader societal views towards rights and social justice. We discuss contributing factors, including inadequate and insufficient provider training, varying and inadequate institutional commitment, asylum seekers’ significant medical and social problems, and the broader health and social system issues. We review existing resources to address these concerns and offer suggestions. (shrink)

Antonio Gramsci is one of the major social and political theorists of the 20th century whose work has had an enormous influence on several fields, including educational theory and practice. Gramsci and Education demonstrates the relevance of Antonio Gramsci's thought for contemporary educational debates. The essays are written by scholars located in different parts of the world, a number of whom are well known internationally for their contributions to Gramscian scholarship and/or educational research. The collection deals with a broad range (...) of topics, including schooling, adult education in general, popular education, workers' education, cultural studies, critical pedagogy, multicultural education, and the role of intellectuals in contemporary society. (shrink)

We build on the work of Moore and Gino (2015) and of Rest (1983, 1986) to develop the Ethical Guardrails Model (EGM). The EGM shows students how personal behaviors, relationships, and habits can help them to avoid ethical mistakes in the workplace. The EGM illustrates the components of ethical business behavior, incorporates a new deliberative component, specifies five ways in which ethical behavior may become derailed, and describes practices that can help a person to avoid derailment. We also describe our (...) use of the EGM in the business ethics classroom, an experience that has changed our approach to teaching business ethics. (shrink)

Une « histoire des vies ordinaires » en Révolution est-elle possible? C’est le pari ambitieux relevé par les auteures de ce Roman conjugal. Elles abordent cette période charnière et tumultueuse sous l’angle du quotidien conjugal de deux couples de la grande bourgeoisie lyonnaise. Spécialistes de la période révolutionnaire dont elles ont particulièrement étudié les dynamiques de genre au fil de leurs ouvrages, elles entendent « à rebours des célébrations des grands acteurs de l’histoire… retr...

Fruit d’un colloque organisé par la Société internationale pour l’étude des femmes de l’Ancien Régime (SIEFAR) en novembre 2008, ce volume, sous la direction d’É. Viennot, constitue le premier volet d’un triptyque consacré à l’étude d’une controverse centrale, mais méconnue de l’histoire de l’Europe moderne et du féminisme : la « Querelle des femmes ». En effet, de la fin du Moyen Âge aux premières décennies du xxe siècle, l’Europe a été « le théâtre d’une gigantesque polémique sur la place (...) e... (shrink)

Au XVIIIe siècle, les médecins modernes tentent d’appréhender et de fixer le plaisir sexuel dans l’ordre de la Nature à une époque charnière où les bouleversements révolutionnaires entraînent dans leur sillage une forte politisation et une redéfinition du sexuel. Les savoirs médicaux qui entendent alors être un instrument essentiel du diagnostic social, participent pleinement à cette dynamique et constituent des lieux d’investigation incontournables pour comprendre les multiples façons dont s’élaborent la sexualité et les « lois de son économie libidinale ». (...) L’édition du premier dictionnaire encyclopédique de médecine, le Dictionnaire des sciences médicales traite longuement de la sexualité. Son ancrage intellectuel et professionnel ainsi que la spécificité de son traitement éditorial par articles et rubriques renouvellent les cadres des discours médicaux sur la sexualité qui sont unifiés et systématisés au fil de ses entrées, formant ainsi les premiers jalons de la sexologie du second xixe siècle. (shrink)

À l’origine de ce dossier, on trouve un mot (et une notion) de l’épistémologie féministe, celui de « care » – terme que nous avons choisi de conserver en anglais tant il est impossible de restituer sa polysémie par un seul terme ou même une expression en français. Popularisé par l’ouvrage In a different voice de la psychologue féministe Carol Gilligan en 1982, le care est à la fois une grille de lecture du monde social et un terrain de recherche (...) inscrit dans les expériences ordinaires des ind... (shrink)

Au XVIIIe siècle, les médecins modernes tentent d’appréhender et de fixer le plaisir sexuel dans l’ordre de la Nature à une époque charnière où les bouleversements révolutionnaires entraînent dans leur sillage une forte politisation et une redéfinition du sexuel. Les savoirs médicaux qui entendent alors être un instrument essentiel du diagnostic social, participent pleinement à cette dynamique et constituent des lieux d’investigation incontournables pour comprendre les multiples façons dont s’élaborent la sexualité et les « lois de son économie libidinale ». (...) L’édition du premier dictionnaire encyclopédique de médecine, le Dictionnaire des sciences médicales (1812-1822) traite longuement de la sexualité. Son ancrage intellectuel et professionnel ainsi que la spécificité de son traitement éditorial par articles et rubriques renouvellent les cadres des discours médicaux sur la sexualité qui sont unifiés et systématisés au fil de ses entrées, formant ainsi les premiers jalons de la sexologie du second xixe siècle. (shrink)

Common sense realism, by E. G. Bewkes.--Theology and religious experience, by V. Ferm.--A reasoned faith, by G. F. Thomas.--Can religion become empirical? By J. S. Bixler.--Value theory and theology, by H. R. Niebuhr.--The truth in myths, by R. Niebuhr.--Is subjectivism in value theory compatible with realism and meliorism? By C. Krusé.--The semi-detached knower: a note on radical empiricism, by R. L. Calhoun.--The new scientific and metaphysical basis for epistemological theory, by F. S. C. Northrop.--A psychological approach to reality, by H. (...) Hartshorne.--A definition of religious liberalism, by D. S. Robinson. (shrink)

Common sense realism, by E. G. Bewkes.--Theology and religious experience, by Vergilius Ferm.--A reasoned faith, by G. F. Thomas.--Can religion become empirical? By J. S. Bixler.--Value theory and theology, by H. R. Niebuhr.--The truth in myths, by Reinhold Niebuhr.--Is subjectivism in value theory compatible with realism and meliorism? By Cornelius Krusé.--The semi-detached knower: a note on radical empiricism, by R. L. Calhoun.--The new scientific and metaphysical basis for epistemological theory, by F. S. C. Northrop.--A psychological approach to reality, by Hugh (...) Hartshorne.--A definition of religious liberalism, by D. S. Robinson. (shrink)

Testimony about episodes of artistic creativity often describes a puzzling combination of deliberate and involuntary elements. For example, Vincent Van Gogh wrote that it was possible for him to make an especially expressive picture, or as he put it, something with “feeling” in it, because the picture had already spontaneously taken form in his mind before he started drawing. He added, however, that if there was something worthwhile in the picture, this was “not by accident but because of real intention (...) and purpose.” Reflection on such testimony and on his own experience as a poet led Paul Valéry to conclude that artistic creation always involves a combination of “conscious acts” and “spontaneous formation”; only their relative proportion varies. If this point is granted, the outstanding and notoriously difficult problem is to understand how such different elements combine in the creative process. In other words, how is inspiration, or the work of the muse, related to the artist’s deliberations, plans, rational choices, and intentional actions? In what follows I shall develop a conjecture that falls within the conceptual space defined by two extreme theses--the popular, inspirationist idea that artistic creativity is a sudden, involuntary, and ultimately inexplicable event, and the dubious, rationalistic counterthesis, which characterizes artistic creation as a principled, deliberate selection from amongst an array of previously known options, each of which is associated with an expected quantity of artistic value. In my first section I discuss Henri Poincaré’s reflections on creativity in his 1908 essay, “L’Invention mathématique.” Although some of Poincaré’s ideas have been restated and elaborated upon in the literature on creativity, I contend that his most important claims still merit a closer look. Taking Poincairé’s general model as my point of departure, I sketch a new conjecture about artistic creativity in section 2; I also discuss a kindred proposal by Jon Elster. In section 3 I further illustrate and explain this conjecture with reference to Virginia Woolf’s artistic breakthrough in the writing of Jacob’s Room. In my final section I take up and respond to objections that may be raised against these claims about artistic creativity. (shrink)

Les conceptions de Georges Duby ont eu un profond impact sur la manière dont les médiévistes en Amérique considèrent le Moyen Âge. Son héritage est sans doute le plus net en ce qui concerne l’étude des femmes dans cette période. G. Duby a défini l’expérience féminine comme marquée par la répression et l’absence de pouvoir. De fait, il a défini la période médiévale comme le « mâle » Moyen Âge. Nombre de chercheurs américains ne s’accordent pas avec la description des (...) femmes qu’il a présentée. Leur examen des documents de la pratique, telles les chartes, les a menés à dresser un tableau très différent de l’expérience féminine. Là où G. Duby et ses disciples décèlent domination masculine et répression, ces chercheurs ont découvert que les femmes exerçaient pouvoir et influence, étaient des membres respectés de la société où elles vivaient et apparaissaient dans tous les aspects de la vie médiévale. (shrink)

Les conceptions de Georges Duby ont eu un profond impact sur la manière dont les médiévistes en Amérique considèrent le Moyen Âge. Son héritage est sans doute le plus net en ce qui concerne l’étude des femmes dans cette période. G. Duby a défini l’expérience féminine comme marquée par la répression et l’absence de pouvoir. De fait, il a défini la période médiévale comme le « mâle » Moyen Âge. Nombre de chercheurs américains ne s’accordent pas avec la description des (...) femmes qu’il a présentée. Leur examen des documents de la pratique, telles les chartes, les a menés à dresser un tableau très différent de l’expérience féminine. Là où G. Duby et ses disciples décèlent domination masculine et répression, ces chercheurs ont découvert que les femmes exerçaient pouvoir et influence, étaient des membres respectés de la société où elles vivaient et apparaissaient dans tous les aspects de la vie médiévale. (shrink)

L’utilisation des réseaux socionumériques est sans doute l’activité en ligne qui enregistre actuellement la croissance la plus rapide parmi les jeunes. Cet article présente de nouvelles conclusions pan-européennes du projet EU Kids Online sur la façon dont les enfants et les jeunes exploitent les possibilités des réseaux peer-to-peer offertes par les réseaux socionumériques, en se basant sur une enquête menée auprès d’environ 25 000 jeunes . Globalement, 59 % des jeunes internautes européens âgés de 9 à 16 ans disposent de (...) leur propre profil sur un site de réseau social. Malgré des craintes, couramment exprimées, de voir la vie des jeunes entièrement exposée en public, la moitié ont moins de cinquante contacts, la plupart des contacts sont des personnes que l’enfant connaît déjà personnellement, et plus de deux tiers ont des profils privés ou partiellement privés. L’objectif de l’analyse est donc de comprendre quand et pourquoi certains enfants cherchent à élargir leurs cercles de contacts en ligne, et pourquoi certains préfèrent dévoiler leur intimité plutôt que protéger leur vie privée. L’étude montre que les différences démographiques entre les enfants, les facteurs culturels dans les différents pays, et les affordances spécifiques des réseaux socionumériques ont tous une influence sur l’élaboration des pratiques en ligne des enfants en matière de vie privée, d’identité et de connexions sociales.Social networking is arguably the fastest growing online activity among youth people. This article presents new pan-European findings from the EU Kids Online project on how children and young people navigate the peer-to-peer networking possibilities afforded by social networking sites, based on a survey of around 25,000 children . In all, 59 % of European 9-16 year olds who use the internet have their own social networking profile. Despite popular anxieties of lives lived indiscriminately in public, half have fewer than fifty contacts, most contacts are people already known to the child in person, and over two thirds have their profiles either private or partially private. The focus of the analysis, then, is to understand when and why some children seek wider circles of online contacts, and why some favour self-disclosure rather than privacy. Demographic differences among children, cultural factors across countries, and the specific affordances of social networking sites are all shown to make a difference in shaping the particularities of children’s online practices of privacy, identity and connection. (shrink)

l Carroll's criticisms of my essay on C. I. Lewis's conception of aesthetic experience, I discuss reasons given in support of axiological accounts of aesthetic experience, including Lewis's contentions about the intrinsic valence of all experiences and his emphasis on the interests motivating philosophical classifications of experience. I also respond to Carroll's remarks about a possible explanatory requirement on a conception of aesthetic experience and the idea that artists have aesthetic experiences as they make a work of art.

In lieu of an abstract, here is a brief excerpt of the content:Authorship Redux:On Some Recent and Not-So-Recent Work in Literary TheoryPaisley LivingstonThe Empty Cage: Inquiry into the Mysterious Disappearance of the Author, by Carla Benedetti, translated by William J. Hartley, 232 pp. Ithaca: Cornell University Press, 2005, $52.50Literature, Theory, and Common Sense, by Antoine Compagnon, translated by Carol Cosman, 224 pp. Princeton: Princeton University Press, 2004, $41.00The Death and Resurrection of the Author?, edited by William Irwin, 237 pp. Westport, (...) Connecticut: Greenwood Press, 2002, $32.95.Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short answer to my initial question comes at the end.Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality [End Page 191] that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished.According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology.Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some [End Page 192] who do... (shrink)

Did Roland Barthes, Michel Foucault, Jacques Derrida, or other "poststructuralist" theorists writing in the wake of May '68 come up with any good ideas about authorship and related topics in the philosophy of literature? The three volumes under review have a common point of departure in that broad question, but offer a number of contrasting responses to it. In what follows I describe and assess some of the various perspectives on offer in these 700 or so pages. The short answer (...) to my initial question comes at the end. Carla Benedetti's book was first published in 1999 in Milan as L'ombra lunga dell'autore: Indagine su una figura cancellata. Professor of Italian and Theory of Literature at the University of Pisa, and Recurrent Visiting Professor at NYU, she clearly shares some of Foucault's basic assumptions about authorship: "It is the reader or viewer who transforms the artist's selections, which in themselves may even be random or compelled, into subjective choices endowed with intentionality: that intentionality that is capable of providing meaning and artistic value to what we are viewing or reading" (p. 12). Benedetti contends that such attributions are a necessary part of the literary and artistic discursive formation of modernity, and she persuasively demonstrates that the author has not "disappeared," in spite of what Barthes and others may have thought or wished. According to Benedetti, authorialism, or the thesis that artistic value can only derive from original authorship, is the product of a modern ideology. She contends that a self-reflexive, late modernist train of thought generates a highly problematic relation to authorship and such related notions as genius, novelty, and creativity. More specifically, Benedetti finds a Batesonian double bind or paradoxical injunction in modernity's incessant demand for an extreme form of novelty. As soon as something innovative has been done, yet another innovation is desired. Not only does it become harder and harder to make a radically new move in the game, but the entire pursuit appears to be hopeless. Although Benedetti does not say so, the key thought was neatly captured by Oscar Wilde when he quipped: "Nothing is so dangerous as being too modern; one is apt to grow old-fashioned quite suddenly." To be old-fashioned is abhorrent, yet to try to obey the injunction to be "absolutely modern" is to risk becoming old-fashioned in a hurry, so failure seems inevitable. One of the constitutive myths of late modernity has it, then, that artistic activity must be recognized as authorless because it is impossible to create some sort of fundamentally novel work of lasting value. For those in the grip of this unsound thought, it seems necessary to conclude that the writer-no-longer-author must be recognized as an essentially uncreative epigone. Benedetti comments rather sweepingly, "All that poststructuralist thought speaks of, in its multifarious elaborations, is merely our supposed irreversible impossibility to create" (p. 202). She links Derrida's rejection of the possibility of decisive epistemological "ruptures" to the same late modernist mythology. Benedetti concludes her book by saying that the late modernist mythology conflates one kind of novelty with the new in general. This distinction sounds promising, but is not developed any further, and this reader was left wondering how the putative crippling error of a vast artistic dispensation could be revealed by means of a distinction between two kinds of newness. I also wonder whether her diagnosis probes deeply enough into the sources and nature of the modish sensibility that leads perversely to the Last Year in Marienbad syndrome. Not everyone is equally interested in trying to be dazzlingly innovative and fashionable; some who do have this inclination manage to produce excellent works of art; and many artists active in the period in question have not worked with the assumptions Benedetti criticizes. Whatever one thinks about Benedetti's Foucauldian premises about authorship, her book is highly informative, engaging, and replete with astute comments on a wide range of European literary and artistic movements and critical trends. With a keen eye for significant detail, she writes elegantly and discusses many fascinating examples, including interesting, lesser-known Italian ones. A variety of perspectives on authorship are presented.. (shrink)

When Comedy, Music and Ballet step forward at the end of L'Amour medecin, the audience learns that in Moliere's theater the farcical passage from sickness to health is much more than a theme. Claiming to have a real therapeutic value, the three arts ask to be recognized as the grands medecins, and present themselves as an alternative to a dubious and rather mercenary medical profession.

Cet article propose une reconstruction de la théorie de la rationalité dynamique esquissée par Michael Bratman dans Intention, Plans, and Practical Reason. Evaluer la rationalité de l'agent, dit Bratman, ce n'est pas simplement évaluer les raisons d'agir qu'avait l'agent au moment de sa décision. Il faut se demander non seulement si l'agent était rationnel lorsqu'il a formé son intention d'agir, mais aussi s'il l'était encore en gardant ou en abandonnant cette même intention. Il s'agit d'une perspective interne dans la mesure (...) où elle prend en compte les rapports entre l'action, l'intention qui la guide et le processus de délibération qui est en amont de celle-ci. Mais la perspective que nous adoptons lorsque nous évaluons la rationalité de l'agent est aussi externe, car elle fait référence à des conditions dont l'agent n'a pas la maîtrise, comme les dispositions et les habitudes qui lui sont propres et qui se manifestent dans ses comportements non intentionnels. Dans un premier temps, je décris le dilemme que la théorie de Bratman cherche à résoudre ; dans un second temps, je présente les principes que Bratman développe; finalement, j'en évalue les résultats en identifiant certains des problèmes qui restent à résoudre ; je propose de réviser l'un des principes de Bratman en substituant une approche contrefactuelle à l'approche conséquentialiste qu'il propose.This paper reconstructs the theory of dynamic rationality sketched by Michael Bratman in Intention, Plans, and Practical Reason. Evaluating agent's rationality is not just a matter of evaluating the agent's reasons for acting at the moment of a decision. We must ask not only whether it was rational of the agent to form a future-directed intention, but also whether it is rational of the agent to revise or retain that intention when the moment of action arrives. Such judgements are internal to the framework of the agent's ongoing plans, intentions, and the deliberative processes upstream of every decision. Yet they are also external because they refer to unintentional behavior and conditions beyond the agent's purposive control, such as habits and dispositions. I describe the dilemma Bratmans theory attempts to resolve, present Bratmans normative principles, and identify some outstanding problems. I propose a revision of one of Bratmans principles, arguing for a counterfactual evaluation of non-intentional factors as opposed to his consequentialist approach based on the long-term benefits of the agent's habits. (shrink)