Objective: Obtaining informed consent for resuscitation research, especially in the newborn, is problematic. This study aimed to evaluate parental preferences for hypothetical consent procedures in neonatal resuscitation research.Design: Mail-out survey questionnaire.Setting/participants: Randomly selected parents who had received obstetrical or neonatal care at a tertiary perinatal centre.Main outcome measures: Parental levels of comfort regarding different methods of obtaining consent in hypothetical resuscitation research scenarios.Results: The response rate was 34%. The respondents were a group of highly educated women with a higher family (...) income than would be expected in the general population. In terms of results, parents valued the impact the research would have on their baby and the importance of a positive interaction with the physicians conducting the research study. Parents felt most comfortable with prospective consent in the setting of prenatal classes or prenatal visits with a physician, but they were somewhat uncomfortable with prospective consent upon admission to hospital after labour had begun. Parents were uncomfortable with waived consent, deferred consent, and opting out, no matter when during the pregnancy consent was requested.Conclusion: This pilot study reports parental preferences for prenatal information and consent for such research trials of neonatal resuscitation. A low response rate and potentially skewed demographics of the respondents prevent generalisability of this result. Interview studies should be performed to better determine parental preferences for informed consent in a more representative population. (shrink)

Introduction -- The muse of paralysis -- Horizon of conquest: Eugene Fromentin's Algerian narratives -- Slow progress: Jean Paulhan and Madagascar -- Frustration: Michel Leiris -- Atopia: Roland Barthes -- The wake of Ulysses.

This chapter recalls not only what Arendt says about judgment, but also of how she herself goes about judgment by revisiting her judgment of Adolf Eichmann and his trial. By calling attention to the theatrical quality of the Israeli House of Justice and the trial staged there, Arendt subtly underlines a claim she makes at the beginning of Eichmann in Jerusalem, a claim that is not often considered by critics but one that introduces an argument for which Arendt's account of (...) the trial continues to receive much criticism. The claim is that a trial resembles a play. The argument is that the trial in Jerusalem was a failure. (shrink)

This book brings together scholarship on three different forms of state violence, examining each for what it can tell us about the conditions under which states use violence and the significance of violence to our understanding of states. This book calls into question the legitimacy of state uses of violence and mounts a sustained effort at interpretation, sense making, and critique. It suggests that condemning the state's decisions to use lethal force is not a simple matter of abolishing the death (...) penalty or – to take another exemplary example of the killing state – demanding that the state engage only in just wars, pointing out that even such overt instances of lethal force are more elusive as targets of critique than one might think. Indeed, altering such decisions may do little to change the essential relationship of the state to violence. (shrink)

The term “aesthetics” is misleading when applied in the classical Indian philosophical context. Before the modern period, there is substantially no body of speculation on the pleasurable responses to created objects, as such, or on their formal capacities to induce such responses. What we do have, on the other hand, are: (1) several partly distinct traditions having to do with the elements out of which are constructed such objects – including literary “objects” – according to prevailing canons of symbology and (...) use that have a ritual or religious basis; and (2) an intensely developed set of speculations on the narrower question of the observed power (often judged in emotive terms) of the dramatic work to transform us, its spectators. This second problematic, in time, comes to be seen as paradigmatic for all “art,” including poetry, music, and the plastic arts. The first set of traditions focuses on what we might call the semantics of the work, contrasting it, in the case of the written work, with “ordinary” symbolical and ritual uses of language “how does it mean what it means?”; the second set deals with the restorative or transformative capacity of dramatic and other “fictive” works, vis‐à‐vis those that immediately and practically provide, or presume to provide, a transcendent solution on human problems – most importantly, of course, the essentially religious problem of human suffering caused by the bondage of cyclic existence “how does the work of art also accomplish human ends?”. (shrink)

Any reconstruction of a complete narrative of the fall of Samaria must rely on some educated guesswork. The evidence we have is flawed and full of holes, which makes reconstruction very difficult. One can mitigate these problems with scholarly, such as a thorough knowledge of the languages of the primary sources and the history and culture of the Ancient Near East, a broad interdisciplinary approach, and awareness of one's own biases. This paper examines methodologies of using classical sources to reconstruct (...) ancient history. (shrink)