Journal Name: Semiotica Issue: Ahead of print.

På husmuren i Rue Jussieu, hvor et af Paris' universiteter holder til, kan man læse følgende grafitiske memento: La femme comme objet sexuel est le point noir de l'humanite.

Some fictions deliberately omit all fictional statements about the mental functioning of fictional agents. This presents an interpretive dilemma, as when we read fiction we ought to reconstruct the fictional minds of characters significant to the plot. Fictions that present the reader with an opaque fictional mind resist the general imaginative project prescribed by fiction-making and seem to demand a novel approach to imagining their fictional entities. Such fictional entities demand the reader commit to one of at least two different (...) ways of imagining nothing about a fictional mind, without explicitly authorizing either. One approach has already been described by H. Porter Abbott. Another can be extracted from Simone De Beauvoir, whose ethics of ambiguity is well suited to dealing with fictional entities about which nothing is fixed nor determined. (shrink)

In risk management, de minimis risk is the idea that risks that are sufficiently small, in terms of probabilities, ought to be disregarded. In the context of the distinction between disregarding a risk and accepting it, this paper examines one suggested way of determining how small risks ought to be disregarded, specifically, the natural-occurrence view of de minimis, which has been proposed by Alvin M. Weinberg, among others. It is based on the idea that “natural” background levels of risk should (...) be used as benchmarks and de minimis levels should be derived from those levels. This approach fails even if the doubtful distinction between what is natural and what is not can be upheld. (shrink)

The purpose of the present thesis is to apply philosophical methods to the ongoing debate of the precautionary principle, in order to illuminate this debate. The thesis consists of an Introduction and five papers. Paper I con-cerns an objection to the method of conceptual analysis, the Charge from Psychology. After a brief characterisation of conceptual analysis, I argue that the Charge from Psychology is misdirected. In Paper II, the method of conceptual analysis is applied to the concept of precaution which (...) is ana-lysed in terms of precautionary actions. The purpose is explicatory. A definition involving three necessary and jointly sufficient conditions is proposed, and the implications of this analysis for the debate on the pre-cautionary principle are discussed. Paper III attempts to provide an ana-lytical apparatus which may be used for finding improved formulations of the precautionary principle. The approach is lexicographical. Several exist-ing and possible formulations of the precautionary principle are examined, and four common elements and a common structure of the precautionary principle are identified. It is suggested that the analytical apparatus pre-sented can be used in negotiations of the precautionary principle. Paper IV questions the soundness of some arguments against the precautionary prin-ciple. Five common arguments are discussed and rejected. In Paper V, two of these arguments are further discussed. I argue that an attempt at rejec-tion of the precautionary principle delivered by John Harris and Søren Holm is unwarranted, because their arguments against it are based on in-terpretations of the precautionary principle that ignore context. Paper VI deals with the idea of de minimis risk. After a discussion of the distinction between disregarding a risk and accepting it, I examine one way of deter-mining how small a risk ought to be in order to be disregarded, namely the use of natural risk levels as benchmarks. I argue that this approach fails, even if the distinction between what is natural and what is not natural can be upheld. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.1 (2003) 39-47 [Access article in PDF] Restraint and Emotion in Cicero's De Oratore Per Fjelstad In De Oratore Cicero has the revered orator Crassus ask, "Who then is the man who gives people a thrill? whom do they stare at in amazement when he speaks? who is interrupted by applause? who is thought to be so to say a god among men?" (1942a, III.53). Crassus, (...) who is asking his companions to think about emotional energy in speech, goes on, "It is those whose speeches are clear, explicit, and full, perspicuous in matter and language, and who in actual delivery achieve a sort of rhythm and cadence—that is, whose style I call 'ornate'."Several things are striking about the passage. First, it resolves its inquiry by invoking the concept of ornatus, a word widely used to translate the Greek idea of kosmos (DiLorenzo 1978). Cicero thus refers to a quality that joins the ideas of cosmic order, physical beauty, and earthly power. Second, the passage is delivered in the midst of Crassus's discussion of the fourth rhetorical canon, that referring to the elaboration of ideas in language, of selecting levels of style and modes of verbal embellishment. Third, the passage ranges across the entire field of rhetorical art, at least as indexed by the scope of the canons. The performative quality directly under discussion, that which gives people a thrill—initially associated with the Theophrastian virtues of style that Crassus has been enumerating, that is, clarity and explicitness—quickly is expanded to include copiousness of invention, perspicuity of language, and energetic beauty in delivery. Cicero's Crassus thus discusses a performative dynamic that appears to govern rhetoric as a whole.As the other characters in the dialogue discuss this quality of speech, which engages listeners emotionally and transforms their experience of the present, they bound beyond the preliminary categories of their analysis and describe a power of speech that is aesthetic and philosophical. As the [End Page 39] narrator of this dialogue, Cicero eventually associates the possibility of emotional transformation with a quality of performance we might identify as graceful or urbane. Cicero suggests that performative style can rise above particular details, conventions, and rules of standard rhetorical instruction. Ornate speech is, in sum, emotionally transformative. In detail, however, how does Cicero theorize this grand ability? What goals, resources, or models does he invoke?This essay argues that Cicero's theory of ornatus insists an orator display emotions relevant to the performance while responding to the need of listeners to hear emotional expression against a backdrop of relative calm. In developing this analysis, I claim that the dialogic format of De Oratore allows insight to emerge from juxtaposed perspectives, that Cicero's ideal of ornatus contains a limiting threshold for performative exuberance, and that his examples of emotional engagement illustrate the importance of context and aesthetic restraint. Theoretical tensions as sources for synthetic insight Theoretical tensions in Cicero's De Oratore are instructive. While Cicero's effort to reconcile Isocratean practice with Aristotelian teleology ultimately makes for a rough fit, the juxtaposition of those understandings within the dialogue also generates new insight, even about limits for rhetorical theory itself. Referring to this mode of theorizing as "ironic eloquence," Michael Leff holds that "through this merger of theory and practice, the rival conceptions of oratory as systematic art and oratory as synthetic practice coalesce within the text, the two perspectives interacting to produce a development that incorporates both" (1986, 323).A similar theoretical tension can be observed in De Oratore regarding the prospects and significance of emotional engagement in oratorical performance. In discussing the practices of emotional oratory Cicero draws on three distinct intellectual sources: a quasi-enthymematic model of emotional engagement, in which an orator need not share or display the sought-after emotional response; a mimetic theory of theatrical performance (that is, a typology of tonal and gestural "moods"); and a latent theory of "authenticity," according to which that which is being theatrically displayed is not "fakely" fictional, but somehow genuine.The conflicting theories suggest... (shrink)

This article contains a discussion on René Girard’s understanding of the positive sides of imitation—despite the ambivalent nature of desire. Historically speaking, the discovery of the scapegoat mechanism made a great contribution towards limiting violence. The decomposition of the scapegoat mechanism, and its power to find non-violent alternatives, has paved the way for a culture with numerous opportunities. Even if humans constantly rival one another, one must understand and define the close relationship between competition, cooperation, and rivalry. To be able (...) to see the positive sides of mimesis, one needs to have a robust understanding of human nature as competitive and, thereby, see friendship and competition as closely related. Learning and creativity can actually become optimal when there is a high degree of competition. Fierce competition today is allowed because of the taboo against violence. The decomposition of myth has destroyed archaic societies but, at the same time, created problems of an apocalyptic kind. Increasingly, cultures are now de- veloping without the shelter that sacrificial society previously provided. Positive human development, as is evident in the demystifying of violent myths and the increased concern for victims, cannot stem the power of global terror. Despite greater pessimism in his later works, Girard’s hope is that, through the model of Christ, people will finally learn to love their neighbours as themselves. A change of heart is to a certain degree capable to lead people towards the same kind of non-differentiated love as God. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.1 (2003) 39-47 [Access article in PDF] Restraint and Emotion in Cicero's De Oratore Per Fjelstad In De Oratore Cicero has the revered orator Crassus ask, "Who then is the man who gives people a thrill? whom do they stare at in amazement when he speaks? who is interrupted by applause? who is thought to be so to say a god among men?" (1942a, III.53). Crassus, (...) who is asking his companions to think about emotional energy in speech, goes on, "It is those whose speeches are clear, explicit, and full, perspicuous in matter and language, and who in actual delivery achieve a sort of rhythm and cadence—that is, whose style I call 'ornate'."Several things are striking about the passage. First, it resolves its inquiry by invoking the concept of ornatus, a word widely used to translate the Greek idea of kosmos (DiLorenzo 1978). Cicero thus refers to a quality that joins the ideas of cosmic order, physical beauty, and earthly power. Second, the passage is delivered in the midst of Crassus's discussion of the fourth rhetorical canon, that referring to the elaboration of ideas in language, of selecting levels of style and modes of verbal embellishment. Third, the passage ranges across the entire field of rhetorical art, at least as indexed by the scope of the canons. The performative quality directly under discussion, that which gives people a thrill—initially associated with the Theophrastian virtues of style that Crassus has been enumerating, that is, clarity and explicitness—quickly is expanded to include copiousness of invention, perspicuity of language, and energetic beauty in delivery. Cicero's Crassus thus discusses a performative dynamic that appears to govern rhetoric as a whole.As the other characters in the dialogue discuss this quality of speech, which engages listeners emotionally and transforms their experience of the present, they bound beyond the preliminary categories of their analysis and describe a power of speech that is aesthetic and philosophical. As the [End Page 39] narrator of this dialogue, Cicero eventually associates the possibility of emotional transformation with a quality of performance we might identify as graceful or urbane. Cicero suggests that performative style can rise above particular details, conventions, and rules of standard rhetorical instruction. Ornate speech is, in sum, emotionally transformative. In detail, however, how does Cicero theorize this grand ability? What goals, resources, or models does he invoke?This essay argues that Cicero's theory of ornatus insists an orator display emotions relevant to the performance while responding to the need of listeners to hear emotional expression against a backdrop of relative calm. In developing this analysis, I claim that the dialogic format of De Oratore allows insight to emerge from juxtaposed perspectives, that Cicero's ideal of ornatus contains a limiting threshold for performative exuberance, and that his examples of emotional engagement illustrate the importance of context and aesthetic restraint. Theoretical tensions as sources for synthetic insight Theoretical tensions in Cicero's De Oratore are instructive. While Cicero's effort to reconcile Isocratean practice with Aristotelian teleology ultimately makes for a rough fit, the juxtaposition of those understandings within the dialogue also generates new insight, even about limits for rhetorical theory itself. Referring to this mode of theorizing as "ironic eloquence," Michael Leff holds that "through this merger of theory and practice, the rival conceptions of oratory as systematic art and oratory as synthetic practice coalesce within the text, the two perspectives interacting to produce a development that incorporates both" (1986, 323).A similar theoretical tension can be observed in De Oratore regarding the prospects and significance of emotional engagement in oratorical performance. In discussing the practices of emotional oratory Cicero draws on three distinct intellectual sources: a quasi-enthymematic model of emotional engagement, in which an orator need not share or display the sought-after emotional response; a mimetic theory of theatrical performance (that is, a typology of tonal and gestural "moods"); and a latent theory of "authenticity," according to which that which is being theatrically displayed is not "fakely" fictional, but somehow genuine.The conflicting theories suggest... (shrink)

In order to responsibly protect certain cherished values, for instance, human or environmental health, privacy, or ‘human dignity’, societies see a need for oversight, guidance and regulation of de...

This article argues that there should be a stronger emphasis on morality, involving a clear articulation of a normative point of view, in education as well as in child raising, with a continuity from early childhood to higher age levels, such that the asymmetry of roles (child – adult) gradually gives way to genuine reciprocity and a shared sense of responsibility. Drawing on Zygmunt Bauman’s work, we explore the historical conditions of moral education. Solid modernity was an age of authorities, (...) sometimes changing into authoritarian education and politics. This prompted a reaction in the form of liquid modernity, followed by anxiety and indecision among parents and teachers now that the old certainties informing normative thinking and practice were gone. Today, wee again witness a reaction and a change in cultural trends: a rebirth of solidity that carries a potential for a new normativity, a potential we consider betrayed in the current wave of claims of productivity, competitiveness and self‐sufficiency in neoliberalism, notions we regard as difficult to unify with moral education, if not in outright conflict with its deeper aspiration. Accordingly, authority in school these days is a matter of obtaining discipline and achievement, not promoting values or serious engagement with moral issues. This calls for a new discussion about education as well as an extended framework of morality. We urge that such a framework question the anthropocentric premises on which Bauman’s understanding of the discontents of late modernity is premised, highlighting the crises and pathologies involving human society at the expense of those affecting nonhumans. (shrink)

J’explore de façon critique la supposition du DSM[1] et de théoriciens tels que Wakefield et Gert selon laquelle les troubles mentaux doivent être attribués à un individu plutôt qu’à un groupe de personnes. Cette supposition est particulièrement problématique en pédopsychiatrie où le système familial est très souvent au centre de l’attention clinique. Il y a bien sûr des éléments de preuve substantiels indiquant que certains troubles mentaux des individus sont causés par leurs relations avec les autres et que leur guérison (...) est grandement facilitée en traitant le groupe, tel que la famille, comme un tout. Malgré cela, il y a eu beaucoup moins de travail conceptuel visant à définir ce que cela pourrait être pour un couple, une famille ou un autre groupe que de se voir attribuer un trouble mental. Pour traiter de cette question, j’utilise un débat entre Wakefield et Murphy et Woolfolk sur la question de savoir s’il fait partie du concept de trouble mental que celui-ci soit causé par une dysfonction interne de la personne. Je discute aussi de la proposition faite par Bolton d’abandonner complètement le concept de trouble mental et d’utiliser plutôt le concept, plus large, de problème de santé mentale. Je soutiens qu’en fin de compte le caractère individuel des troubles mentaux ne constitue pas une vérité conceptuelle a priori, et qu’il faut faire intervenir des considérations pragmatiques pour décider s’il est utile de nous limiter à une telle définition ou si nous pourrions être mieux servis par une définition plus extensive. Je fais le lien avec le pragmatisme et je soutiens qu’une approche pluraliste non réductive est particulièrement appropriée en pédopsychiatrie.I critically explore the assumption of the DSM and theorists such as Wakefield and Gert that mental disorder must be attributed to an individual rather than a group of people. This assumption is especially problematic in child and adolescent psychiatry where very often the focus of clinical attention is the family system. There is of course substantial evidence that some mental disorders of individuals are caused by their relationships with other people and that their recovery is greatly facilitated by treating the group, such as a family, as a whole. However, there has been much less conceptual work on defining what it might be for a couple, family or other group to itself be attributed a mental disorder. To address this issue, I employ a debate between Wakefield , Murphy and Woolfolk on whether it is part of the concept of a mental disorder that it is caused by an internal malfunction of a person. I also discuss the proposal of Bolton that we do away with the concept of mental disorder altogether and instead use a broader concept of mental health problem. I argue that ultimately it is not an a priori conceptual truth that mental disorders are individual, and we need to bring in pragmatic considerations to decide whether it is helpful to restrict ourselves to such a definition or whether we could be better served by a more expansive definition. I link this to the philosophical view of pragmatism and argue that a pluralistic nonreductive approach is especially appropriate in child and adolescent psychiatry. (shrink)

Die Geschichte der internationalen Beziehungen gehort derzeit zu den dynamischsten und innovativsten Feldern der deutschen Geschichtswissenschaft. Eine historische Teildisziplin, die lange Zeit als eher traditionell und konservativ galt, erweitert und erneuert sich. Diesen Prozess dokumentieren die Beitrage des vorliegenden Bandes. Sie leisten eine Bestandsaufnahme, entwickeln Perspektiven und reflektieren so die ganze Bandbreite einer modernen Geschichte der internationalen Beziehungen. Gepragt ist der Band durch den Dialog von Historikern, die sich mit unterschiedlicher Ausrichtung - politik-, wirtschafts-, sozial- oder kulturgeschichtlich - fur internationale (...) Geschichte interessieren. Das Spektrum der Beitrage reicht von der Erforschung von Globalisierungsprozessen uber Fragen des Kulturtransfers bis hin zu einer internationalen Politikgeschichte. (shrink)

We use recent developments within philosophy of science and within certain strands of linguistic research to throw light on each other. According to Ronald Giere's perspectivist philosophy of science, the scientific understanding of reality must proceed along different, mutually irreducible lines of approach. Giere's proposal, however, leaves unresolved the problem of how to integrate the ever‐growing multitude of highly diverse scientific accounts of what is, after all, one and the same world. We propose a technique for the alignment of different (...) perspectives that will permit cross‐perspectival explanation, and thus allow for a more holistic picture of reality to emerge. With respect to modern linguistics, however, Giere's perspectivism merely legalises a de facto state of affairs, as this discipline displays the peaceful coexistence of a multitude of different theoretical perspectives. Still, this makes it all the more important to show how the different aspects of language picked out by these different perspectives combine to form one single complex reality. During our investigation, a largely overlooked type of reduction within linguistics comes to light, prevalent in classical as well as current work within speech act theory and politeness theory. We suggest how a more holistic understanding of language can be attained through our technique for integrating different perspectives. (shrink)