This article examines conceptualisations of violence against women developed in Brazilian feminism, and in legal and institutional measures against violence, from the 1980s to the present. Based on ethnographic studies carried out at the Women’s Police Stations and Special Criminal Courts, and the controversies surrounding the 2006 Brazilian Law on domestic and familial violence, the authors map the meanings of expressions such as ‘violence against women’, ‘marital violence’, ‘domestic violence’, ‘family violence’ and ‘gender violence’. The article reveals that the discourse (...) that transforms violence into crime, in the Brazilian context, leads to semantic and institutional developments that replace an interest in politicising justice for the defence of women with the judicialisation of family relations. (shrink)

This article addresses the question of how policymakers could deliberately influence processes of technology development. Using the development of wind turbines in Denmark as an example, the article describes the frames of meaning guiding the actions of those involved in the three subprocesses of policymaking, the generation of new technologies, and the management of the firms that bring new artifacts to the market. The three types of actors share an interest in one notion: the meaning of a technological artifact. This (...) notion, however, plays a different role in the respective frames of meaning of the actors. For policymakers and managers, it is an instrumental notion. For technologists, it provides guidance to their activities. The shared interest affords the possibility of reaching common action with only congruent meanings. Interactive forms of technology assessment can play a central role in bringing about such congruent meanings and thus in influencing the generation of new technologies. (shrink)

Magnetic resonance imaging (MRI) can provide a number of measurements relevant to sport-related concussion (SRC) symptoms; however, most studies to date have used a single MRI modality and whole-brain exploratory analyses in attempts to localize concussion injury. This has resulted in highly variable findings across studies due to wide ranging symptomology, severity and nature of injury within studies. A multimodal MRI, symptom-guided region-of-interest (ROI) approach is likely to yield more consistent results. The functions of the cerebellum and basal ganglia transcend (...) many common concussion symptoms, and thus these regions, plus the white matter tracts that connect or project from them, constitute plausible ROIs for MRI analysis. We performed diffusion tensor imaging (DTI), resting-state functional MRI, quantitative susceptibility mapping (QSM), and cerebral blood flow (CBF) imaging using arterial spin labeling (ASL), in youth aged 12-18 years following SRC, with a focus on the cerebellum, basal ganglia and white matter tracts. Compared to controls similar in age, sex and sport (N = 20), recent SRC youth (N = 29; MRI at 8 ± 3 days post injury) exhibited increased susceptibility in the cerebellum (p = 0.032), decreased functional connectivity between the caudate and each of the pallidum (p = 0.035) and thalamus (p = 0.021), and decreased diffusivity in the mid-posterior corpus callosum (p < 0.038); no changes were observed in recovered asymptomatic youth (N = 16; 41 ± 16 days post injury). For recent symptomatic-only SRC youth (N = 24), symptom severity was associated with increased susceptibility in the superior cerebellar peduncles (p = 0.011) and reduced activity in the cerebellum (p = 0.013). Fewer days between injury and MRI were associated with reduced cerebellar-parietal functional connectivity (p < 0.014), reduced activity of the pallidum (p = 0.002), increased CBF in the caudate (p = 0.005), and reduced diffusivity in the central corpus callosum (p < 0.05). Youth SRC is associated with acute cerebellar inflammation accompanied by reduced cerebellar activity and cerebellar-parietal connectivity, as well as structural changes of the middle regions of the corpus callosum accompanied by functional changes of the caudate, all of which resolve with recovery. Early MRI post-injury is important to establish objective MRI-based indicators for concussion diagnosis, recovery assessment and prediction of outcome. (shrink)

The Dutch animal production sector faces significant pressure for change. We discuss a project for the design of a sustainable husbandry system for pigs. Named after the Greek hero Hercules, the project aimed for structural changes in both animal and crop production. However, instead of changing the course of the river, the project ended up merely adapting its flow. The Hercules project ran into difficulties typical for projects aiming at reflexive modernization. It relapsed from an effort for reflexive modernization to (...) ecological modernization, by ultimately leaving the structural features of the sociotechnical regime intact. We show how this resulted from the biases and limitations implied by existing institutions, in which the project was unavoidably embedded. We introduce the idea of reflexive design, as “doing” reflexive modernization, which implies working on action and structure at the same time. A number of recommendations are given for reflexive design projects like this. (shrink)

In this contribution, I wish to explore the potential of health technology assessment and ethics for increasing our capacity to pre-empt the shortcomings and undesired consequences of modern health care while maintaining its benefits. Central is the presumption that in case of some health problems this cannot be done unless we explicitly reconsider some features of the modern health care system, especially those related to its strong reliance on scientific rationality and the strong role played by medical professionals.So as to (...) both maintain the benefits of advanced health care and ensure that it produces less reason for concern, we need to reconsider our approach to rationality—and maybe even the way in which we build our health care system around that rationality. That is, we need to introduce an element of reflexivity. Two types of circumstances are being explored in which such reflexivity may prove worthwhile: controversies on side effects, and persistent problems encountered in optimising health care. Drawing on brief discussions of typical cases, we explore the potential of reflexive HTA and its methodical prerequisites.We conclude that ethicists may contribute to reflexive HTA, if they combine a hermeneutic—and often also participative—methodology with a solid understanding of the relation between the health problem under scrutiny and more general critique of the health care system. Insights from the areas of science and technology studies, as well as from social philosophy may be critical items in their tool kit. (shrink)

[1] Ṭohorah, yiḥud, hanhagat ha-bayit --.

A possible explanation for policy implementation failure is that the views of the policy’s target groups are insufficiently taken into account during policy development. It has been argued that involving these groups in an interactive process of policy development could improve this. We analysed a project in which several target populations participated in workshops aimed to optimise the utilisation of an expensive novel drug (interferon beta) for patients with Multiple Sclerosis. All participants seemed to agree on the appropriateness of establishing (...) a central registry of Multiple Sclerosis patients and developing guidelines. Nevertheless, these policy measures were not implemented. Possible explanations include (1) the subject no longer had high priority when the costs appeared lower than expected, (2) the organisers had paid insufficient attention to the perceived problems of parties involved, and (3) changes within the socio-political context. The workshops in which representatives of the policy’s target populations participated did not provide enough interactivity to prevent policy implementation failure. (shrink)

This paper considers the issues surrounding women’s bare-breastedness and breastfeeding in public. I argue that women should have equal freedoms with men to bare their breasts in public, but not for the reasons commonly cited Proponents of “the public breast” tend to focus on the similarities between women’s and men’s breasts; I argue that the sameness versus difference debate is unhelpful in resolving this question. As I argue, women’s breasts differ from men’s in significant ways, and by dismissing these differences (...) we dismiss the possibility of women’s authentic breasted experience. Instead, I suggest that women share an equal interest with men in defining their sexuality: When women are denied the right to go topless or breastfeed in public, they are denied their own understandings of their breasts. (shrink)

This paper considers the issues surrounding women’s bare-breastedness and breastfeeding in public. I argue that women should have equal freedoms with men to bare their breasts in public, but not for the reasons commonly cited Proponents of “the public breast” tend to focus on the similarities between women’s and men’s breasts; I argue that the sameness versus difference debate is unhelpful in resolving this question. As I argue, women’s breasts differ from men’s in significant ways, and by dismissing these differences (...) we dismiss the possibility of women’s authentic breasted experience. Instead, I suggest that women share an equal interest with men in defining their sexuality: When women are denied the right to go topless or breastfeed in public, they are denied their own understandings of their breasts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stiva's Idiotic GrinStewart JustmanIRecall if you will the stunning opening chapter of Anna Karenina. After laying down the principle that "Happy families are all alike; every unhappy family is unhappy in its own way,"1 the narrative introduces us to one of the latter. The Oblonsky household is in turmoil. Having found out that her spouse is philandering with a former governess, Dolly has kept to her room for three (...) days. For the first time since the discovery Stiva, the husband, now sleeps at home—on a leather sofa in the study. Turning "as though he would sink into a long sleep again," he suddenly awakens, sits up, and tries to recover the delights of wine, women, and song that were his in a tantalizing dream. "Yes, Alabin was giving a dinner on glass tables, and the tables sang Il mio tesoro—not Il mio tesoro, though, but something better, and there were some sort of little decanters on the table, and they were women, too." A man who has been playing Don Juan plays in a dream with an aria from Don Giovanni.Incongruously for one whose household is in open revolt and whose wife flees the sight of him, as he recollects his dream Stiva's eyes "twinkled gaily, and he pondered with a smile." Awakening itself seems to be an act of escapism for Stiva. "Cheerfully" he feels about for the slippers embroidered for him by his wife. (It was when his attention was arrested by some beautiful embroidery on his robe and he fell to thinking "about how people get the idea in their heads to invent all these patterns and [End Page 427] ornaments of embroidery" that Tolstoy got the idea for Anna Karenina.)2 Only when he reaches for his dressing gown in the usual place and doesn't find it does Stiva return to reality, and as he does so, the smile disappears from his face. "'Ah, ah, ah! Oo!...' he groaned, recalling everything that had happened. And as he recalled every detail of his quarrel with his wife, he realized the hopelessness of his situation, and, most tormenting thought of all, that it was his own fault." But as if contriving an escape from a situation that permits none, he maintains that even though the crisis in his marriage and his household is undoubtedly his own doing, still he is not to blame. "And the most awful thing about it [he tells himself] is that it's all my fault—all my fault, though I'm not to blame." Like a lawyer producing an argument, Stiva invents a saving distinction between being at fault and being really at fault—in effect claiming that although he does engage in adultery, he can't be condemned for it as his wife has lost her charms and he was just following his nature. As Stiva clings to fantasy and reverie in this scene, so his belief that he isn't really to blame for his own deeds implies a defect in his sense of reality. (In Part Three of the novel we are told that despite Stiva's "efforts to be an attentive father and husband, he never could keep in his mind that he had a wife and children," p. 297.)At this point in his musings Stiva thinks back to the terrible moment when he returned "from the theater" to find his wife brandishing an incriminating letter (whether from him to the governess or the governess to him), and demanding an explanation.And at this recollection, Stepan Arkadyevich, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had reacted to his wife's words.There happened to him at that instant what happens to people when they are unexpectedly caught in something very disgraceful. He did not succeed in assuming an expression suitable to the position in which he was placed by his wife's discovery of his guilt. Instead of acting hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent... his face utterly involuntarily (reflex action of the brain, reflected Stepan Arkadyevich, who was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Stiva's Idiotic GrinStewart JustmanIRecall if you will the stunning opening chapter of Anna Karenina. After laying down the principle that "Happy families are all alike; every unhappy family is unhappy in its own way,"1 the narrative introduces us to one of the latter. The Oblonsky household is in turmoil. Having found out that her spouse is philandering with a former governess, Dolly has kept to her room for three (...) days. For the first time since the discovery Stiva, the husband, now sleeps at home—on a leather sofa in the study. Turning "as though he would sink into a long sleep again," he suddenly awakens, sits up, and tries to recover the delights of wine, women, and song that were his in a tantalizing dream. "Yes, Alabin was giving a dinner on glass tables, and the tables sang Il mio tesoro—not Il mio tesoro, though, but something better, and there were some sort of little decanters on the table, and they were women, too." A man who has been playing Don Juan plays in a dream with an aria from Don Giovanni.Incongruously for one whose household is in open revolt and whose wife flees the sight of him, as he recollects his dream Stiva's eyes "twinkled gaily, and he pondered with a smile." Awakening itself seems to be an act of escapism for Stiva. "Cheerfully" he feels about for the slippers embroidered for him by his wife. (It was when his attention was arrested by some beautiful embroidery on his robe and he fell to thinking "about how people get the idea in their heads to invent all these patterns and [End Page 427] ornaments of embroidery" that Tolstoy got the idea for Anna Karenina.)2 Only when he reaches for his dressing gown in the usual place and doesn't find it does Stiva return to reality, and as he does so, the smile disappears from his face. "'Ah, ah, ah! Oo!...' he groaned, recalling everything that had happened. And as he recalled every detail of his quarrel with his wife, he realized the hopelessness of his situation, and, most tormenting thought of all, that it was his own fault." But as if contriving an escape from a situation that permits none, he maintains that even though the crisis in his marriage and his household is undoubtedly his own doing, still he is not to blame. "And the most awful thing about it [he tells himself] is that it's all my fault—all my fault, though I'm not to blame." Like a lawyer producing an argument, Stiva invents a saving distinction between being at fault and being really at fault—in effect claiming that although he does engage in adultery, he can't be condemned for it as his wife has lost her charms and he was just following his nature. As Stiva clings to fantasy and reverie in this scene, so his belief that he isn't really to blame for his own deeds implies a defect in his sense of reality. (In Part Three of the novel we are told that despite Stiva's "efforts to be an attentive father and husband, he never could keep in his mind that he had a wife and children," p. 297.)At this point in his musings Stiva thinks back to the terrible moment when he returned "from the theater" to find his wife brandishing an incriminating letter (whether from him to the governess or the governess to him), and demanding an explanation.And at this recollection, Stepan Arkadyevich, as is so often the case, was not so much annoyed at the fact itself as at the way in which he had reacted to his wife's words.There happened to him at that instant what happens to people when they are unexpectedly caught in something very disgraceful. He did not succeed in assuming an expression suitable to the position in which he was placed by his wife's discovery of his guilt. Instead of acting hurt, denying, defending himself, begging forgiveness, instead of remaining indifferent... his face utterly involuntarily (reflex action of the brain, reflected Stepan Arkadyevich, who was... (shrink)

In January 1969, just before his inauguration as president, Richard M. Nixon attended a concert in his honor at Constitution Hall. The program consisted entirely of works by American composers, including Howard Hanson, then the director of the Eastman School of Music at the University of Rochester. Hanson's choral work “Song of Democracy,” a setting of two excerpts from poems by Walt Whitman, was the last number of the evening. Here isNew York Timesmusic critic Harold Schonberg's commentary on the event, (...) which featured the National Symphony Orchestra and the Mormon Tabernacle Choir:“Song of Democracy” is not a very original or strong piece, but it makes a big brave sound in its concluding measures, and the well-trained Mormon Tabernacle Choir had a lusty time with it... Mr. Nixon listened intently, but grinned his way between numbers. At the end of the Hanson work, he was determined to be the first to applaud. He brought his fist down in a great downbeat, anticipating the conductor's by a good half measure.Afterwards, Schonberg reported, Nixon left the presidential box to congratulate Hanson personally. (shrink)

Whenever the membranes of the egg in which the foetus emerges on its way to becoming a new-born are broken, imagine for a moment that something flies off, and that one can do it with an egg as easily as with a man, namely the hommelette, or the lamella. The lamella is something extra-flat, which moves like the amoeba. It is just a little more complicated. But it goes everywhere. And as it is something - I will tell you shortly (...) why - that is related to what the sexed being loses in sexuality, it is, like the amoeba in relation to sexed beings, immortal - because it survives any division, and scissiparous intervention. And it can turn around. Well! This is not very reassuring. But suppose it comes and envelopes your face while you are quietly asleep... I can't see how we would not join battle with a being capable of these properties. But it would not be a very convenient battle. This lamella, this organ, whose characteristic is not to exist, but which is nevertheless an organ - I can give you more details as to its zoological place - is the libido. It is the libido, qua pure life instinct, that is to say, immortal life, irrepressible life, life that has need of no organ, simplified, indestructible life. It is precisely what is subtracted from the living being by virtue of the fact that it is subject to the cycle of sexed reproduction. And it is of this that all the forms of the objet a that can be enumerated are the representatives, the equivalents. Every word has a weight here, in this deceivingly poetic description of the mythic creature called by Lacan "lamella". Lacan imagines lamella as a version of what Freud called "partial object": a weird organ which is magically autonomized, surviving without a body whose organ it should have been, like a hand that wonders around alone in early Surrealist films, or like the smile in Alice in Wonderland that persists alone, even when the Cheshire cat's body is no longer present: "'All right', said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which remained some time after the rest of it had gone. 'Well! I've often seen a cat without a grin', thought Alice; 'but a grin without a cat! It's the most curious thing I ever saw in my life!'" The lamella is an entity of pure surface, without the density of a substance, an infinitely plastic object that can not only incessantly change its form, but can even transpose itself from one to another medium: imagine a "something" that is first heard as a shrilling sound, and then pops up as a monstrously distorted body. A lamella is indivisible, indestructible, and immortal - more precisely, undead in the sense this term has in horror fiction: not the sublime spiritual immortality, but the obscene immortality of the "living dead" which, after every annihilation, re-composes themselves and clumsily goes on. As Lacan puts it in his terms, lamella does not exist, it insists: it is unreal, an entity of pure semblance, a multiplicity of appearances which seem to envelop a central void - its status is purely fantasmatic. This blind indestructible insistence of the libido is what Freud called "death drive," and one should bear in mind that "death drive" is, paradoxically, the Freudian name for its very opposite, for the way immortality appears within psychoanalysis: for an uncanny excess of life, for an "undead" urge which persist beyond the cycle of life and death, of generation and corruption. This is why Freud equates death drive with the so-called "compulsion-to-repeat," an uncanny urge to repeat painful past experiences which seems to outgrow the natural limitations of the organism affected by it and to insist even beyond the organism's death - again, like the living dead in a horror film who just go on. This excess inscribes itself into the human body in the guise of a wound which makes the subject "undead," depriving him of the capacity to die : when this wound is healed, the hero can die in peace. (shrink)

Solving the problem of moral luck—the problem of dealing with conflicting intuitions about whether moral blameworthiness varies with luck in cases of negligence—is like repairing a dented fender in front of two kinds of critic. The one keeps telling you that there is no dent, and the other sees the dent but keeps warning you that repairing it will do more harm than good. It is time to straighten things out. As I argue elsewhere, the solution to the problem of (...) moral luck is finally revealed. Our task now is twofold: to hold a magnifying glass up to the initial problem, so that all might finally see it; and to dismiss unfounded fears about solving that problem, so that all might finally stop grinning and bearing it. (shrink)

Call the proposition that the good life consists of excellent, distinctively human activity the Aristotelian Thesis. I think of a photograph I clipped from the New York Times as vividly depicting this claim. It shows a pianist, David Golub, accompanying two vocalists, Victoria Livengood and Erie Mills, at a tribute for Marilyn Home. All three artists are in fine form, exercising themselves at the height of their powers. The reason I saved the photo, however, is Mr. Golub's face. He is (...) positively grinning, as if saying to himself, “And they pay me to do this?”. (shrink)

Alice encounters at least three distinct problems in her struggles to understand and navigate Wonderland. The first arises when she attempts to predict what will happen in Wonderland based on what she has experienced outside of Wonderland. In many cases, this proves difficult -- she fails to predict that babies might turn into pigs, that a grin could survive without a cat or that playing cards could hold criminal trials. Alice's second problem involves her efforts to figure out the (...) basic nature of Wonderland. So, for example, there is nothing Alice could observe that would allow her to prove whether Wonderland is simply a dream. The final problem is manifested by Alice's attempts to understand what the various residents of Wonderland mean when they speak to her. In Wonderland, "mock turtles" are real creatures and people go places with a "porpoise" (and not a purpose). All three of these problems concern Alice's attempts to infer information about unobserved events or objects from those she has observed. In philosophical terms, they all involve *induction*. -/- In this essay, I will show how Alice's experiences can be used to clarify the relation between three more general problems related to induction. The first problem, which concerns our justification for beliefs about the future, is an instance of David Hume's classic *problem of induction*. Most of us believe that rabbits will not start talking tomorrow -- the problem of induction challenges us to justify this belief. Even if we manage to solve Hume's puzzle, however, we are left with what W.V.O. Quine calls the problems of *underdetermination *and *indeterminacy.* The former problem asks us to explain how we can determine *what the world is really like *based on *everything that could be observed about the world. *So, for example, it seems plausible that nothing that Alice could observe would allow her to determine whether eating mushrooms causes her to grow or the rest of the world to shrink. The latter problem, which might remain even if resolve the first two, casts doubt on our capacity to determine *what a certain person means *based on *which words that person uses.* This problem is epitomized in the Queen's interpretation of the Knave's letter. The obstacles that Alice faces in getting around Wonderland are thus, in an important sense, the same types of obstacles we face in our own attempts to understand the world. Her successes and failures should therefore be of real interest. (shrink)

Despite the discrepancies between quantum objects and `classical' ones, mainly with regard to the fact that the latter may be thought of as `individuals', contrary to the former, we still regard the quanta as `things' in our ordinary discourse as well as in the logico-mathematical basis of quantum theories. This paper considers some possibilities for accomodating the logico-mathematical framework of the theories which deal with such a strange ontology where the inhabitants are things devoid of identity and both having and (...) not having certain properties.``All right'', said the Cat; and this time it vanished quite slowly, beginning with the end of the tail, and ending with the grin, which remained some time after the rest of it had gone. (shrink)

Birth and The Jazz Singer ostensibly exploit blacks in opposite ways. Birth makes war on blacks in the name of the fathers; The Jazz Singer’s protagonist adopts a black mask and kills his father. The Birth of a Nation, climaxing the worst period of violence against blacks in southern history, lynches the black; the jazz singer, ventriloquizing the black, sings through his mouth. Birth, a product of the progressive movement, has national political purpose. The Jazz Singer, marking the retreat from (...) public to private life in the jazz age, and the perceived pacification of the fantasized southern black threat, celebrates not political regeneration but urban entertainment.[ … ]Celebrating the blackface identification that Birth of a Nation denies, The Jazz Singer does no favor to blacks. The blackface jazz singer is neither a jazz singer nor black. Blackface marries ancient rivals in both movies; black and white marry in neither. Just as Birth offers a regeneration through violence, so the grinning, Jazz Singer, minstrelsy mask kills blacks with kindness. Michael Rogin teaches political science at the University of California, Berkeley. His books include Fathers and Children: Andrew Jackson and the Subjugation of the American Indian , Subversive Genealogy: The Politics and Art of Herman Melville , “Ronald Reagan,” the Movie and Other Episodes in Political Demonology. (shrink)

Honest signalling theory suggests that humans and chimpanzees can extract socially relevant information relating to personality from the faces of their conspecifics. Humans are also able to extract information from chimpanzees’ faces. Here, we examine whether personality characteristics of chimpanzees, including measures of psychopathy, can be discerned based purely on facial morphology in photographs. Twenty-one chimpanzees were given naïve and expert personality ratings on the Ten Item Personality Inventory (TIPI) and the Chimpanzee Triarchic Model of Psychopathy (CHMP-Tri) before and following (...) behavioural observations. Characteristics relating to openness, conscientiousness, extraversion, and disinhibition could be distinguished from the faces of chimpanzees. Individuals higher on disinhibition have lower scores on conscientiousness and emotional stability and higher scores on extraversion, while those higher on meanness have lower conscientiousness and agreeableness. Facial expressions are linked to personality traits present in the TIPI and CHMP-Tri models: the Relaxed Face and the Grooming Face were displayed more by chimpanzees higher on agreeableness, whereas the Compressed Lips Face was observed more in those individuals higher on boldness, and the Full Open Grin was displayed more by chimpanzees higher on extraversion but lower on emotional stability and conscientiousness. Facial expressions were also found to be associated with particular behavioural contexts, namely the Grooming Face in affiliative contexts and the Relaxed and Relaxed Open Mouth Faces in neutral contexts. Dominant chimpanzees display higher levels of boldness and more Compressed Lips Faces, Relaxed Open Mouth Faces, and Grooming Faces than subordinate individuals. These findings support and extend evidence for an honest signalling system and a personality structure shared between humans and chimpanzees. Future research could further explore how personality is conveyed through the face, perhaps through more than just singular aspects of character, and maybe reflecting what chimpanzees themselves are able to do. (shrink)

Human bodies have a totally different mode of existence from those collections of mental properties (intelligence, will power, consciousness, etc.) that we call minds. They belong to the ontological category of physical substances or entities, whereas mental properties belong to the ontological category of properties or attributes, and as such can exist only so long as their physical bearers exist. Mental properties “emerge” (in a sense that makes emergence ubiquitous throughout the natural world) when the constituent parts of a biological (...) organism—especially its brain—are configured in certain sorts of ways. A view of reality that is both conceptually coherent and scientifically comprehensive makes the very idea of surviving one’s bodily death literally absurd. -/- 1. The Cheshire Cat Fallacy: “A Grin Without a Cat” -- 2. Two Main Arguments for Substance Dualism - 2.1 An Appeal to the Logic of Identity and Difference - 2.2 An Appeal to the Noncogitative Nature of Matter -- 3. A Host of Problems for Substance Dualism - 3.1 The Inexplicability of Mind-Brain Dependence - 3.2 The Inexplicability of Mental Causation - 3.3 The Violation of Scientific Laws - 3.4 Minds as Miracle-Workers - 3.5 Problems about Our Embryological and Developmental Histories - 3.6 Problems about our Evolutionary Histories - 3.7 Which Stage of the Soul or Mind Survives? - 3.8 Where are our Disembodied Souls Supposed to Survive? -- 4. The Argument from Leibniz’s Law Presupposes a Category Misallocation - 4.1 The Fallacy of Reification - 4.2 Resisting the Reifying Lure of Language - 4.3 Dualistic Consequences of Reifying Mentalistic Terms - 4.4 Allocation to Ontological Categories - 4.5 Locke’s Partial Solution to the Category Misallocation - 4.6 Ryle on Category Mistakes and “the Ghost in the Machine” - 4.7 Ryle’s Important Insight: To Have a Mind is to have a Set of Mental Properties - 4.8 Interim Summary -- 5. The Emergence of “Minds” from Incogitative Matter - 5.1 Locke’s A Priori Argument - 5.2 Locke’s Argument Refuted by Counterexamples - 5.3 The Concept of Emergence Defined - 5.4 Rival Concepts of Emergence - 5.5 The Ubiquitousness of Emergent Properties - 5.6 The Metaphysics of Emergent Materialism - 5.6.1 Substance Monism - 5.6.2 The Doctrine of Property Dualism is Misconceived - 5.6.3 Emergent Properties of Different Kinds - 5.6.4 The “Hierarchy” of Sciences - 5.6.5 The Broad Spectrum of “Mental” Properties -- 6. The Metaphysical Impossibility of Survival - 6.1 Mind-Brain Dependence - 6.2 The Issue of Mental Causation - 6.2.1 The Bogeyman of Epiphenomenalism - 6.3 The Violation of Scientific Laws - 6.4 Minds as Miracle-Workers - 6.5 Our Embryological and Developmental Histories - 6.6 Our Evolutionary Histories -- 7. Conclusion. (shrink)

El presente trabajo complemenJa las referencias a la lengua aut6ctona de los día­ guitas chilenos, en la encrucijada histórica de la conquista hispana en el siglo Xlll , cuya primera parte se publicó en WGOS N 2 l.En este número conJrastamos las hipó­ tesis de don Ricardo Latcham con la crftica de don Jorge /ribarren; se ofrece, aderruís, un suscinJo panorama de la situación lingüística en el noroeste argenJino, y las anota­ ciones espedficamenJe lingüísticas sobre el "cacán" de Antonio Tovar, (...) Cestmir Lou­ kotka y RodtJ/fo Schuller, y nuestras propias conclusiones. The following information about the chilean diaguitas'indigenous tongue for the historie period of the spanish conquest complemenJs the previous report published in thefirst issue of the magazine LOCOS. Ricardo Latcham's hypothesis and Jorge lribarren critica/ position are here confronJed in addition to a brief account of the linguistic situation in south-western ArgenJina. There is also a presenJation of sorne specif eally linguistic statemenJs about "cacán" by Antonio Tovar, Cestmir Loukotka and Rodolfo Schuller as well as our own conclusions. (shrink)

During nearly two centuries, American storytellers have celebrated comic figures, ebullient showoffs who turned up on one frontier after another—in the old South, in Kentucky and Tennessee, along the great inland rivers, in the mountains and the mines and on the prairies. Often, the stories went, when these characters engaged in a favorite pastime—playfully bragging about their strength, their skill and their exploits—they used animal metaphors such as Opossum, Screamer, Half-Horse Half-Alligator, the Big Bear of Arkansas or Gamecock of the (...) Wilderness to furnish nicknames. Often they were also identified as fictional or real frontiersmen—Mike Fink, Nimrod Wildfire, Jim Doggett, Pecos Bill—and tall tales clustered around them. Explaining a metaphor and a nickname, an Ohio newspaper in 1830 cited the most famous braggart of this sort: "Ring-tailed roarer—A most vicious fellow—a Crockett." . . . The stories did not have to have roots in reality and often were not new. The real Crockett was well built, handsome, ruddy-cheeked. But traditional jokes made ugliness a funny quality. Falstaff claimed Bardolph's crimson proboscis glowed with a flame that made torches inoperative. The Spectator in 1711 told about "Spectator's" election to England's Ugly Club. Joke 177 in Joe Miller's Jests was about the British kingdom's champion ugly man. When Gus Longstreet entered law school in Litchfield, Connecticut, in 1813, a student welcomed him: "Here, sir, is a knife always given to the ugliest student. . . . Until now it has been mine, but beyond doubt, sir, since you are here, I have now no right to it any longer." Andy Jackson—"Old Hickory"—won a like award. Lore had it that Davy was so repulsive looking that if he grinned at a raccoon, it tumbled from its tree. Once, worried because he grinned and grinned without bringing down his victim, he was relieved when a close look showed he had mistaken a knot for a beast. All the same, he had grinned all the bark off the branch. Walter Blair is professor emeritus in the department of English at the University of Chicago. His many influential works include Native American Humor and Horse Sense in American Humor. "Americanized Comic Braggarts" appears in a slightly different version in the book America's Humor from Poor Richard to Doonesbury. (shrink)

In his book Radical Evolution: The Promise and Peril of Enhancing Our Minds, Our Bodies—and What It Means to Be Human (2005), author-journalist Joel Garreau identifies four technologies whose synergistic activity may transform humankind into a state transcending present human nature: genetic, robotic, information, and nano (GRIN) technologies. If the GRIN technologies follow Moore's Law, as information technology has done for the past four decades, Homo sapiens and human society may be unimaginably different before the middle of this (...) century. But among scientists, futurists, and other pundits there is no agreement on the nature and ramifications of this transformation. Based on dozens of interviews, Garreau sees three possible scenarios for our species. The Heaven Scenario foresees enhanced bodies and minds in a disease-free world, perhaps even immortality; the Hell Scenario warns of losing our identity as a biological entity and perhaps the demise of liberal democracy; the Prevail Scenario predicts that we will muddle through the GRIN technology revolution basically intact, as we have prevailed during past technological upheavals. In this review, these scenarios are examined in the context of Kuhn's “normal” versus “extraordinary” science and in the context of current understanding about gene function. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:AsphyxiationsSteven Connor (bio)Recent events and sociorhetorical expatiations upon them have reaffirmed breathing as the ideal form of free and unimpeded life, that struggles against the throttlings of oppression. The root meaning of oppression, from the past participle of Latin opprimere, is to press, crush or bear down upon, and the word oppression has commonly been used to signify the feeling of the difficulty of breathing, through some constriction or (...) pressure, as in the nocturnal attentions of the nightmare, the spirit imagined as settling suffocatingly on the chest of the sleeper. As a mare that rides rather than being ridden, the spirit is often imagined as a female succubus, though in Fuseli's 1781 painting the mare is accompanied by a simian incubus who squats on the chest of a female sleeper, prompting these lines from Erasmus Darwin:So on his Nightmare through the evening fogFlits the squab Fiend o'er fen, and lake, and bog;Seeks some love-wilder'd maid with sleep oppress'd,Alights, and grinning sits upon her breast.(Darwin 2.16)'Pressing' meant the forcing of somebody into some condition or service, typically the army or navy. In oppressive weather, the clouds may seem to 'lower', or the humid air to cramp and confine the body.We think of breathing as opening or release, of a piece with open windows and unbounded spaces. Human beings have brewed up fantasies for centuries of more complete modes of breathing that would overcome the constriction represented by the respiratory apparatus, exhorting themselves and each other to breathe more deeply, suffusing, not just the lungs, but the diaphragm, the head, and other items of phantasmal physiology. Indeed, the factitiously hollow spaces of the body–the head that we seek to keep 'clear'–are the proof of the belief in the strange principle of vital vacuity, the idea that we exist most fully in empty spaces of innerness, bodily enclosures evacuated of body. Without this sense of the animating function of the breath, the body suffers the inanition of a "want of living [End Page 74] breath in its lungs, which are full of gases but empty of spirit" (Wilkinson 78). In being taken in and given out, breath seems to commute between what Wittgenstein calls "two kinds of worlds, worlds built of different materials." The fact that "the mental world in fact is liable to be imagined as gaseous, or rather, aethereal," seems to Wittgenstein to be related to "the queer role which the gaseous and the aethereal play in philosophy,–when we perceive that a substantive is not used as what in general we should call the name of an object, and when therefore we can't help saying to ourselves that it is the name of an aethereal object" (Wittgenstein 47). The conception of the soul as an afflatus, or a special kind of magic gas, which has been common among so many different peoples, suggests just this kind of aethereal object-that-is-not-one. It embodies the conviction that we are most essentially present as ourselves where we are closest to being nothing, in an out-of-body kind of body.We breathe out–phew, originally in the seventeenth century a violent expression of disgust or emancipatory emptying, as we might nowadays plosively and purifyingly say poo–when we 'ex-press', as we say, our sense of being, as we also say, 'relieved,' from re + levare, to lift up, implying a lightening, or levitation, that approaches in imagination the condition of air itself. To ventilate is to levitate. To be relieved is to dream of remission from the clinging pressure of your own embodiment, as though you could simply emit or expel your own weight. To inhale is to prepare for stress and struggle: to exhale is to relax, to sigh into satisfaction, converting becoming momentarily to being. Exhalation is therefore the decorporizing of the body, or the corporealization of the incorporeal. But though human beings exalt imaginary emptying, as the purifying expulsion of what is evil, infective, invasive, persecutory, expiration is also death. Speech is the expressive sound formed from the impressing of exhaled breath, the dissolving openness of air given imaginary... (shrink)

The perfect companion to Lewis Carroll's classic book and director Tim Burton's March 2010 remake of Alice in Wonderland Alice?s Adventures in Wonderland has fascinated children and adults alike for generations. Why does Lewis Carroll introduce us to such oddities as blue caterpillars who smoke hookahs, cats whose grins remain after their heads have faded away, and a White Queen who lives backwards and remembers forwards? Is it all just nonsense? Was Carroll under the influence? This book probes the deeper (...) underlying meaning in the Alice books, and reveals a world rich with philosophical life lessons. Tapping into some of the greatest philosophical minds that ever lived?Aristotle, Hume, Hobbes, and Nietzsche?Alice in Wonderland and Philosophy explores life?s ultimate questions through the eyes of perhaps the most endearing heroine in all of literature. Looks at compelling issues such as perception and reality as well as how logic fares in a world of lunacy, the Mad Hatter, clocks, and temporal passage Offers new insights into favorite Alice in Wonderland characters and scenes, including the Mad Hatter and his tea party, the violent Queen of Hearts, and the grinning Cheshire Cat Accessible and entertaining, Alice in Wonderland and Philosophy will enrich your experience of Alice's timeless adventures with new meaning and fun. (shrink)

With these last words, the Dodger suffered himself to be led off by the collar, threatening, till he got into the yard, to make a parliamentary business of it, and then grinning in the officer's face, with great glee and self-approval.The Artful Dodger is a character to which philosophers ought to pay great heed. He embodies the dual meaning of "art" that is found in common use. The Dodger's clever craft in his daily struggle for existence is at the same (...) time a creative and ongoing interaction with his situation, inflected as much by a cunning integration of means as a relish in the style of those means and the ends they make available, whether a snuff box or a slice of pie. The struggle to survive secretes the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 463 Kawika Guillermo Libido Ergo Sum Sitting atop a red beanbag stained with dark splotches, Kelsey watched the tells from the five boys sitting on the carpet in front of her. One by one they gave away their hands, their eyes dodging hers, perhaps afraid of her female intuition. She loved these surreptitious moments, when her boys tried (...) to fool her, believing that they had her in their clutches, as if she couldn’t help but be pulled by their charms. Kelsey went all in, moving her chips into the middle of the carpet. Kaleb’s mouth grinned to the right while Gabriel impatiently tapped on his knee, keeping beat with the remixed 80’s tune coming from the large boom box behind him. Billy’s face was in a gleeful Leave-It-to-Beaver of daffiness, and Michael’s dumbfounded expression—worn to distract her— was put out by a nervous scratch of his neck. After each had pussied out, Kelsey leaned over to distract them further with her cleavage as she picked up the red playing cards, her hair settling onto the boys’ laps as if to imitate fellatio. “Alright, pussy bitches,” she said, collecting the chips and stirring the toothpick in her mouth like a mortar. “Pass’em down,” pointing to the gold dealer’s piece. “Big blind, little blind.” She watched the world as if from a recliner and saw herself dealing the next hand with the finesse of a professional dealer. Her gaze circled the carpet of poker players. Their eyes never met hers. In every house party Kelsey hosted, she always saw a faint bleakness in her guests. She always cleaned them out, her eyes scanning them like food at a supermarket, unveiling their moves with every glance. She watched them all at once: Jackson wiping his mouth, Michael adjusting his glasses, Gabriel 464 Kawika Guillermo chewing on bubblegum in loud smacks, Billy grinning as he mouthed curse words. Finally, Kelsey took only a glimpse at her own cards before doubling the ante. Tommy shrugged and tossed his cards; Michael met her raise and she went all in. She noticed these patterns all between them. She saw their reactions before they even happened: Michael shaking his head and calling her a bitch as he splashed his cards onto her living room carpet. At two in the morning she drank two tequila shots in the kitchen with Paul, one of the many toxic men that she had invited to her party from work. He was a sturdy baseball player/lightweight alcoholic, toxic in his thoughtless remarks on meeting schedules, upcoming due-dates, and portfolios. “Then you put the salt on your thumb, or whatever,” Paul said, shaking up a bottle of Patrón Silver, as if it needed to be shaken. Kelsey stuck out her shot glass for another. A year ago she would have been doing homework, playfully kicking off the dust of the world with a big biology textbook in her hands. Since then, she had discovered that there was a pattern to debauchery that led to some existential fulfillment—a realizing of herself as a living substance—an uber-debauchery. Refusing to dilute her angst into anything but total surrender, she was still a Vegas girl, willing to throw herself into in the Las Vegas rites of passage of drunk driving, diving nude into neighbor’s pools, and waking up in hotel rooms with a hundred dollar bill on the cupboard, weighted in place by Gideon’s Bible. “Another sausage fest,” said a man in a cowboy hat and vintage overalls. Kelsey didn’t know him. He sat on the countertop like the Cheshire Cat and flipped through a book of bumper stickers. He wore one with the words “Libido Ergo Sum” on his forehead. “All right!” another drunken voice shouldered through waves of sound: “Seize the day!” “James’s baby sure looks cute tonight,” said another drunken voice. “’Course no one would try, except this guy.” The man in the cowboy hat smiled up at her. “How come you don’t invite your girlfriends to your parties?” “I don’t have... (shrink)

"Sir, there's a drawing pin under your chair." Spoon grins. It is funny and also a bit silly to shout out 'drawing pin' in the classroom during a test. Maybe it is a better idea to leave the pin, when they go home in the afternoon and the teacher still has some marking to do. And then to say nothing, go to the woods and there scream with laughter.

Forty years after Dax Cowart fought to have his voice heard regarding his medical treatment, patient autonomy and rights are at the heart of patient care today. Yet, despite its centrality in patient care, the tension between a severely burned patient’s right to stop treatment and the physician’s role in saving a life has not abated. As this case study explores, barriers remain to hearing and respecting a patient’s treatment decisions. Dismantling these barriers involves dispelling the myths that burn patients (...) must grin and bear intense pain to recover and that a patient’s choice to discontinue treatment equals physician failure. Moreover, in these situations, sustained, direct engagement between physician and patient can reduce the moral distress of all involved and enable physicians to hear and better accept when a patient is calling for the end of the day. (shrink)