Apolitical, amoral, an aesthete whose writings point toward some form of liberation: this is the figure who emerges from most recent scholarship on Friedrich ...

We often lament our limited nature as human beings. Supernatural is certainly no stranger to this theme and often contrasts the many weaknesses of man to the awesome power of angels, demons, and otherworldly creatures. It should be enough to show that angels can reasonably be atheists by showing two things. First, the best arguments in favor of the existence of God are no better if Anna and Cas think about them, and second, that these angels are also in no (...) better position than we are to deny what is perhaps the strongest argument against the existence of God. The cosmological argument for the existence of God begins with a couple of observations about the universe. The first is pretty obvious‐“things exist.” The second is that everything that exists was caused to exist as it is. (shrink)

A collection of dramatic accounts about doctors who have faced the moral dilemma of choosing between obeying rules and doing what is best for a patient offers insight into the essential principles of medical ethics and their impact on ...

First published in 1945, Maurice Merleau-Ponty’s monumental _Phénoménologie de la perception _signalled the arrival of a major new philosophical and intellectual voice in post-war Europe. Breaking with the prevailing picture of existentialism and phenomenology at the time, it has become one of the landmark works of twentieth-century thought. This new translation, the first for over fifty years, makes this classic work of philosophy available to a new generation of readers. _Phenomenology of Perception _stands in the great phenomenological tradition of (...) Husserl, Heidegger, and Sartre. Yet Merleau-Ponty’s contribution is decisive, as he brings this tradition and other philosophical predecessors, particularly Descartes and Kant, to confront a neglected dimension of our experience: the lived body and the phenomenal world. Charting a bold course between the reductionism of science on the one hand and "intellectualism" on the other, Merleau-Ponty argues that we should regard the body not as a mere biological or physical unit, but as the body which structures one’s situation and experience within the world. Merleau-Ponty enriches his classic work with engaging studies of famous cases in the history of psychology and neurology as well as phenomena that continue to draw our attention, such as phantom limb syndrome, synaesthesia, and hallucination. This new translation includes many helpful features such as the reintroduction of Merleau-Ponty’s discursive Table of Contents as subtitles into the body of the text, a comprehensive Translator’s Introduction to its main themes, essential notes explaining key terms of translation, an extensive Index, and an important updating of Merleau-Ponty’s references to now available English translations. Also included is a new foreword by Taylor Carman and an introduction to Merleau-Ponty_ _by Claude Lefort. Translated by Donald A. Landes. (shrink)

Cognitive control is easy to identify in its effects, but difficult to grasp conceptually. This creates somewhat of a puzzle: Is cognitive control a bona fide process or an epiphenomenon that merely exists in the mind of the observer? The topiCS special edition on cognitive control presents a broad set of perspectives on this issue and helps to clarify central conceptual and empirical challenges confronting the field. Our commentary provides a summary of and critical response to each of the papers.

Name der Zeitschrift: Semiotica Jahrgang: 2014 Heft: 202 Seiten: 533-553.

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film (...) is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

The purpose of this paper is to outline an ethics development activity that uses scenarios in university classes to further the knowledge, engagement, and enhancement of the ethical actions of the students. By starting with a brief review of the objective and use of scenarios in ethics research, the paper progresses to explain the activity, debrief the activity, and finally to provide an analysis of the activity with examples. Included in this activity are ways to incorporate a discussion of Kant’s (...) Categorical Imperative Theories, NCA Credo of Ethical Communication, and the use of videos for Milgram’s Blind Obedience and Stanford’s Prison studies—thus making this activity useful across all disciplines. (shrink)

The rise of the sitar from a limited accompaniment instrument used in the regional courts of Northern India to an internationally recognized cultural icon underscores its importance both as an instrument and a cultural symbol—the sitar mirrors India’s social complexity. This story encapsulates the social, political and economic trauma resulting from the dismantling of Mughal empire to the partition of Pakistan, reflecting contesting social narratives and Hindu/Muslim cultural heritages through the distinctive musical styles modern India. A musical instrument and material (...) object of contested origins, the sitar extends from wood, gourd, wire, and ivory into complex social and cultural networks. I argue that the sitar, as object, cannot be reduced to either an empirical or phenomenological entity; it is a space of potentiality, the actualization of a virtual object. I examine the sitar as both byproduct and narrative, demonstrating how it defies attempts to limit its constantly rupturing borders with imposed cognitive frames, and how materiality and philosophical systems can inform ethnographic practice. (shrink)

The community of faith finds blessing for itself when it gives due weight to the Old Testament insight that nearness to God is found by those who, like Job and Jacob, assertively engage the Covenant Partner.

The community of faith finds blessing for itself when it gives due weight to the Old Testament insight that nearness to God is found by those who, like Job and Jacob, assertively engage the Covenant Partner.

In the parable of the Pharisee and the Tax Collector, Jesus trades in the language of hyperbole: The Pharisee and the tax collector are both caricatures of a particular way of responding to God. In itself each of these ways is not without its legitimacy. Nevertheless, the reason the Pharisee incurs God's disapproval in Jesus9 parable has to do with his misuse of religious tradition: Keeping the tradition becomes the means by which he exalts himself over others. Still, the tax (...) collector, too, can stand as a warning: Lamenting one's sins, if it does not lead to commensurate action, merely becomes an exercise in cheap grace. (shrink)

Embodied Care is the first work to argue for the body's centrality to care ethics, doing so by analyzing our corporeality at the phenomenological level.

In this essay, the author describes how he faced institutionalized homophobia during his psychiatric training, and how he later wrote a play inspired by the life of a gay psychiatrist. Despite Freud’s supportive stance, homosexuality aroused the antipathy of American organized psychiatry and psychoanalysis and came to be listed as an illness in the Diagnostic and Statistical Manual. Dr. John E. Fryer outed himself as “Dr. H Anonymous” at a 1972 meeting of the American Psychiatric Association, and the next year (...) homosexuality was removed from the DSM. The 2014 play Doctor Anonymous offers a fictionalized account of this watershed moment in the history of the gay rights movement. The author discusses his own psychotherapeutic work with gay male patients, including those who had previously been treated with conversion therapy, and explores how the play mirrors his own life experience and the experience of his patients. (shrink)

Some characteristics of the Cambridge Platonists -- Benjamin Whichcote (1609-1683) -- John Smith (1616-1652) -- Ralph Cudworth (1617-1685) -- Nathaniel Culverwel (1618?-1651) -- Henry More (1614-1687) -- Peter Sterry (d. 1672).