The first comprehensive survey of the criticisms of Leibniz's philosophical optimism in the first half of the eighteenth century, when what has been called the ‘debacle of the perfect world’ first began.

El presente estudio muestra cómo un enfoque de investigación acción aborda la enseñanza explícita de lenguaje formulaico en estudiantes de 8vo básico y su efecto en el uso de éste en la escritura de textos narrativos en Inglés. El proceso de intervención fue realizado en un colegio privado en Chile. Los datos fueron obtenidos a partir de un grupo de 23 participantes siguiendo una metodología de investigación-acción que permitió recolectar y analizar información obtenida a través de textos escritos por los (...) participantes en inglés y, a su vez, conocer su percepción sobre las diferentes estrategias implementadas y sobre su propia habilidad para usar estas expresiones. La innovación pedagógica, a partir de la cual se reflexionó tomando en cuenta perspectivas teóricas y pedagógicas, indicaron un efecto favorable en relación al uso de expresiones formulaicas en la habilidad de escritura. De igual manera, la opinión de los estudiantes muestra percepciones favorables sobre las estrategias implementadas en clases. (shrink)

The purpose of this study was to analyze the attitude of a group of cardiologists on the ethical conducts they would accept or adopt when encountered with different hypothetical situations of medical practice. Between August and September of 2011, 700 Argentine cardiologists were surveyed in situations which posed ethical dilemmas in the patient-physician relationship, among colleagues or involving financial agreements with employers or the pharmaceutical industry. Ethical conflicts were evidenced in a series of inappropriate conducts such as differential fees, trips (...) and meals sponsored by laboratories, splitting fees, overbilling, self-referral, charging for patient referral, financial compensation for ordering medical procedures, and various situations derived from the relationship with employers. In general, financial compensation from the pharmaceutical industry was more accepted than the conflictive situations which directly involved patients, colleagues or employers. The rejection of these conducts, the physicians' deontological education and the improvement of financial and organizational conditions in medical practice will help to encourage better medical professionalism and avoid unseemly behaviors. (shrink)

Psychologists and economists often ask similar questions about human behaviour. This volume brings together contributions from leaders in both disciplines.The editorial introduction discusses methodological differences between the two which have until now limited the development of mutually beneficial lines of research. Psychologists have objected to what they see as an excessive formalism in economic modelling and an unrealistic degree of sophistication in the behaviour of individuals, while economists criticize the absence of a general psychological framework into which most results can (...) be fitted and the lack of welfare implications in their theories. The editors encourage scholars to exploit the strengths of each discipline - the ability of psychologists to understand the feelings and motivation of individuals; and the experience of economists to develop normative frameworks.The editors then highlight the links between the contributions by grouping them according to central themes in the study of rationality and well-being:1. The causes and consequences of 'irrational behaviour';2. The role of anticipatory feelings and imperfect self-knowledge on decision-making; 3. The way in which memory of past events and cost of thinking affect current decisions;4. The interaction between anticipated and remembered utility and its effects on the welfare of individuals; 5. Experimental practice on how to perform controlled experiments to test hypotheses.This exciting volume provides an excellent point of entry for anyone interested in the interface between economics and psychology. (shrink)

Psychologists have a long tradition of studying human behavior, strengths and weaknesses, biases and limitations. Economists have constructed normative frameworks that capture the most important elements of human decision-making and developed powerful tools to determine individual and strategic choices in a variety of situations. Only recently have their strengths been combined and economic models enriched with key ingredients found in psychological studies.This volume covers four of the most important themes in this interdisciplinary field: feelings, inconsistencies, limitations and biases. Each chapter (...) contributes to a more comprehensive and accurate modelling and description of human behavior. Its four parts cover: the origins, formation, and evolution of beliefs; consistency, commitment, and intertemporal separability of dynamic choices; attention, preference formation, and risk evaluation in limited cognition; and affective behaviour, specifically the role of emotions in decision making. (shrink)

Psychologists have a long tradition of studying human behavior, strengths and weaknesses, biases and limitations. Economists have constructed normative frameworks that capture the most important elements of human decision-making and developed powerful tools to determine individual and strategic choices in a variety of situations. Only recently have their strengths been combined and economic models enriched with key ingredients found in psychological studies.This volume covers four of the most important themes in this interdisciplinary field: feelings, inconsistencies, limitations and biases. Each chapter (...) contributes to a more comprehensive and accurate modelling and description of human behavior. Its four parts cover: the origins, formation, and evolution of beliefs; consistency, commitment, and intertemporal separability of dynamic choices; attention, preference formation, and risk evaluation in limited cognition; and affective behaviour, specifically the role of emotions in decision making. (shrink)

Este trabajo presenta seis ponencias en torno a los problemas que atraviesan distintos sectores de la población en situación de vulnerabilidad social en el goce de sus derechos humanos en el contexto de la pandemia global de COVID-19. Las exposiciones reflexionan sobre los prejuicios y vulnerabilidades que atraviesan las personas adultas mayores; las violencias de género en contextos de aislamiento; las personas en contextos de movilidad excluidas de las medidas de protección; el tratamiento y priorización de las personas con discapacidad (...) en los centros de derivación de COVID-19; la protección de las garantías penales en la administración de justicia durante los juicios de lesa humanidad llevados en forma remota; y el avance de las causas por crímenes de lesa humanidad durante la pandemia. (shrink)

El presente estudio se inscribe en la línea de las investigaciones acerca del pensamiento de Evagrio Póntico, el monje filósofo del siglo IV d.C, que se vienen realizando en los últimos años. En este marco, nos interesa profundizar en la significación que tiene en la obra evagriana un concepto filosófica y teológicamente relevante como es el de sophía y cuál es la relación que la realidad que éste designa tiene con la vida moral. Evagrio establece una relación de connaturalidad entre (...) las virtudes y la sabiduría, de tal modo que el ejercicio ético propio de la primera etapa de desarrollo espiritual es planteado como un requisito para alcanzar la sabiduría. En este contexto se plantea el concepto de apátheia como el estado del alma capaz de alcanzar la sabiduría. No obstante, la ciencia que otorga la sabiduría es siempre en el Póntico un don divino. Por esta razón esta división en etapas no puede ni debe ser planteada de modo taxativo como si las mismas fueran compartimentos estancos. (shrink)

En este texto partiremos de la conocida tensión cinematográfica entre la imagen y la narración, refiriendo a un caso concreto de cine mexicano tipológico costumbrista. Es un género que se distingue por una trama débil constituida por secuencias con un importante peso mostrativo o “descriptivo”, más que narrativo y el espectador se entretiene en el reconocimiento de los estereotipos, obteniendo un goce mimético de reconocimiento. Para abordar tal reconocimiento mimético distinguiremos entre los imaginarios literarios y los imaginarios fílmicos. Los imaginarios (...) literarios son esquemas faltos de concreción. Por el contrario, los imaginarios fílmicos no son lo absoluto una cuestión de la imaginación más o menos vaga, sino que dada su base fotográfica presentan girones de la realidad tal cual es en su apariencia. Este imaginario fílmico ya no consta de imágenes de la mera imaginación, al gusto del que se las imagina, sino que consta de fragmentos fotográficos de la apariencia real, por lo que esas imágenes de calidad fotográfica tienden a generan de inmediato aprobación o rechazo. Puede ser que se lea algo que no gusta y entonces tiende a dejarse de lado, pero es más difícil dejar de lado algo que, aunque no guste no se leyó sino se vio. Para analizar el género de narrativa débil tipologizante recurrimos a la teoría de D. Bordwell sobre la construcción de la historia combinándola con la teoría de R. Barthes acera de los núcleos, catálisis, informantes e indicios narrativos. (shrink)

El presente trabajo es parte de una investigación de magíster en la cual se examina el problema de los universales en el período medieval, específicamente en los autores Avicena, Enrique de Gante y Duns Scotus. En él se analiza la comprensión escotista de los universales, así como también su relación con el conocimiento, Dios y el principio de individuación. Scotus dedica el conocimiento abstractivo a los universales, o sea, el conocimiento abstractivo es el tipo de conocimiento que permite a los (...) seres humanos conocer a los universales. Estos, por su parte, son totalmente contingentes, siendo creados o destruidos por Dios con base solamente en la voluntad divina. Además, un universal adquiere una existencia material cuando es concretado por la haecceitas, cuando “está presente” en un individuo existente en acto. Para tal análisis se utilizan partes de textos como Quodlibet q. 13, Ordinatio II, d. 3, Lectura I, d. 39, Reportatio I-A, d. 38. (shrink)

A subresiduated lattice is a pair, where A is a bounded distributive lattice, D is a bounded sublattice of A and for every there exists the maximum of the set, which is denoted by. This pair can be regarded as an algebra of type (2, 2, 2, 0, 0), where. The class of subresiduated lattices is a variety which properly contains the variety of Heyting algebras. In this paper we study the subvariety of subresiduated lattices, denoted by, whose members satisfy (...) the equation. Inspired by the fact that in any subresiduated lattice whose order is total the previous equation and the condition for every are satisfied, we also study the subvariety of generated by the class whose members satisfy that for every. (shrink)

UnoTal como lo destaca Antonio Elizalde en la presentación del libro “Ampliando el Arco Iris”, escrito por varias manos, mentes y corazones, el Arco Iris ya parece una serie o una saga, para usar una palabra con más historia y más fina, acorde con la riqueza editorial de una obra que ya llega a la tercera versión. El primer libro, publicado en 1988, hubo de llamarse La Fuerza del Arco Iris, muy a tono con un Chile que en esos años (...) desplegaba una acción social que quería apurar el alba luego d.. (shrink)

El texto que se presenta aquí es la segunda parte de la traducción de New Theory of Universalsy se corresponde con las últimas secciones del artículo original. En el anterior número de Ideas y Valores (157 de abril de 2015) se publicó la primera parte, que corresponde a la introducción y las dos primeras secciones del original.

A hemi-implicative lattice is an algebra \((A,\wedge,\vee,\rightarrow,1)\) of type (2, 2, 2, 0) such that \((A,\wedge,\vee,1)\) is a lattice with top and for every \(a,b\in A\), \(a\rightarrow a = 1\) and \(a\wedge (a\rightarrow b) \le b\). A new variety of hemi-implicative lattices, here named sub-Hilbert lattices, containing both the variety generated by the \(\{\wedge,\vee,\rightarrow,1\}\) -reducts of subresiduated lattices and that of Hilbert lattices as proper subvarieties is defined. It is shown that any sub-Hilbert lattice is determined (up to isomorphism) by (...) a triple (_L_, _D_, _S_) which satisfies the following conditions: _L_ is a bounded distributive lattice, _D_ is a sublattice of _L_ containing 0, 1 such that for each \(a, b \in L\) there is an element \(c \in D\) with the property that for all \(d \in D\), \(a \wedge d \le b\) if and only if \(d \le c\) (we write \(a \rightarrow _D b\) for the element _c_), and _S_ is a non void subset of _L_ such that _S_ is closed under \(\rightarrow _D\) and _S_, with its inherited order, is itself a lattice. Finally, the congruences of sub-Hilbert lattices are studied. (shrink)

Ce texte propose une analyse des mécanismes argumentatifs mis en œuvre dans les lettres que Hernán Cortés, conquistador du Mexique, a adressées à Charles V (Cartas de Relación) pour légitimer sa conquête du territoire qui deviendra la Nouvelle Espagne et, par ce biais, le Nouveau Monde. Il s’agit en particulier de montrer l’emploi du concept rhétorique d’inventio dans le passage d’une appropriation conceptuelle du « Nouveau Monde » (par l’élaboration de ce concept) à sa domination territoriale (la fondation de Veracruz (...) et la création de la Nouvelle Espagne). (shrink)

Ce texte propose une analyse des mécanismes argumentatifs mis en œuvre dans les lettres que Hernán Cortés, conquistador du Mexique, a adressées à Charles V (Cartas de Relación) pour légitimer sa conquête du territoire qui deviendra la Nouvelle Espagne et, par ce biais, le Nouveau Monde. Il s’agit en particulier de montrer l’emploi du concept rhétorique d’inventio dans le passage d’une appropriation conceptuelle du « Nouveau Monde » (par l’élaboration de ce concept) à sa domination territoriale (la fondation de Veracruz (...) et la création de la Nouvelle Espagne). (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

When surveying recent philosophical work on the nature and status of collective intentionality and we-intentions, it is striking how much effort is spent on analysing the structure of joint action and on establishing whether or not the intention to, say, go for a walk or paint a house together is reducible to some form of I-intentionality. Much less work has been devoted to an analysis of shared affects and emotions. This is regrettable, not only because emotional sharing in all likelihood (...) is developmentally prior to and logically more basic than joint action, but also because it might constitute a way of being together with others, which we need to study if we wish to better understand the nature of the we. In the present contribution, my primary aim will be to offer an answer to the following question: does the we-experience, the experience of being part of a we, presuppose, precede, preserve, or abolish the difference between self- and other-experience? In pursuing this task, I will take a closer look at emotional sharing and draw on resources that are too frequently ignored in current social ontology, namely insights found in classical phenomenology and in contemporary research on social cognition. (shrink)

Husserl und die transzendentale Intersubjektivität analyses the transcendental relevance of intersubjectivity, and argues that an intersubjective transformation of transcendental philosophy can already be found in phenomenology, especially in Husserl. Husserl eventually came to believe that an analysis of transcendental subjectivity was a conditio sine qua non for a phenomenological philosophy. Drawing on both published and unpublished manuscripts the book examines his reasons for this conviction and delivers a detailed analysis of his radical and complex concept of intersubjectivity, showing that precisely (...) his reflections on transcendental intersubjectivity are capable of clarifying his phenomenological core-concepts, thus making possible a new understanding of his philosophy. Against this background the book then attempts to establish to what extent the phenomenological approach to intersubjectivity can contribute to the current discussions of intersubjectivity. This is achieved through a systematic confrontation with the language-pragmatical positions of Apel and Habermas. Die Abhandlung untersucht die transzendentale Relevanz der Intersubjektivität und zeigt, daß eine intersubjektive Transformation der Transzendentalphilosophie schon innerhalb der Phänomenologie - besonders der Husserlschen - zu finden ist. Husserl gelangte zu der Auffassung, daß eine Analyse und Einbeziehung der transzendentalen Intersubjektivität als conditio sine qua non für eine phänomenologische Philosophie zu betrachten sei. Die Gründe, die Husserl zu dieser Überzeugung führten, werden herausgearbeitet. Dabei weist die Analyse des radikalen und komplexen Begriffs der Intersubjektivität auf, daß erst seine Überlegungen zur transzendentalen Intersubjektivität viele phänomenologische Grundbegriffe ins rechte Licht stellen können und darüber hinaus ein neues Grundverständnis seiner Phänomenologie ermöglichen. Vor diesem Hintergrund wird die Frage, inwieweit die Phänomenologie zur gegenwärtigen Intersubjektivitätsdiskussion beitragen kann, durch eine systematische Auseinandersetzung mit der sprachpragmatischen Intersubjektivitätstheorie von Apel und Habermas beantwortet. (shrink)

Creative force or creative shaping? This unprecedented effort to plumb the workings of the ontopoiesis of life by disentangling its primordial forces and shaping devices as they enter into the originary matrixes of life yields fascinating insights. Prepared by the investigation of the first two matrixes (the `womb of life' and `sharing-in-life', Analecta Husserliana Volume 74) the present collection of essays focuses upon the third and crowning creative matrix, Imaginatio Creatrix here proves itself to be the source and driving force (...) which brings us to the origins of the human mind - human life. Studies by: Elof Axel Carlson, A-T. Tymieniecka, N. Milkov, Eldon C. Wait, K. Rokstad, M. Golaszewska, M. Küle, W. Kim Rogers, Piotr Mróz, R. Pinilla Burgos, A. Carrillo Canán, G.R. Ronsivalle, J.E. Smith, A. Pawliszyn, A. Rizzacasa, L. Galzigna and M. Galzigna, Jiro Watanabe, M. Jakubczak, K. Tarnowski, M. Durst, W. Pawliszyn, R.A. Kurenkova, Carmen Cozma, E. Supinska-Polit, I.S. Fiut, Gerald Nyenhuis, Osvaldo Rossi, R.D. Sweeney, and D. Ulicka. (shrink)

We thank the commentators for their thoughtful responses to our article.1 Due to space constraints, we will confine our discussion to just three key issues. The first issue relates to the central ethical conundrum for clinicians working with young people like Phoenix: namely, how to respect, value and defer to a person’s own account of their identity and what is needed for their well-being, while staying open to the possibility that such an account may reflect a work in progress. This (...) conundrum thus relates both to what will be beneficial for that person and what constitutes respecting their autonomy, and clinicians must dwell on these questions when deciding what forms of medical intervention to offer. D’Angelo,2 Lemma3 and Wren4 highlight the importance of considering Phoenix as a ‘whole person in context’ 2 prior to initiating treatment or care. In this way, they advocate for a process of ‘therapeutic exploration’,4 which includes taking sufficient time to explore Phoenix’s personhood with them so as to support them in achieving an ‘authentic self-discovery’.2 We agree with these authors that identity development is a complex, life-long process that is influenced by biological, psychosocial and relational aspects, all of which may contribute to an individual’s desire to pursue gender-affirming interventions. To explore the various factors—both conscious and unconscious—that might be motivating Phoenix’s decision to pursue ongoing puberty suppression, D’Angelo,2 Lemma3 and Wren4 describe a comprehensive psychological approach to working with transgender and gender diverse individuals and propose questions to guide such discussions. Consistent with this approach, we stipulated that Phoenix had undergone regular psychological counselling and that the psychologist had judged that ‘Phoenix’s distress is significant and enduring…not a symptom …. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imagined Apotheoses: Drake, Harriot, and Ralegh in the AmericasWilliam M. HamlinPerhaps the two best known stories of Europeans being taken for gods by non-European peoples are those of Hernan Cortés in Mexico and Captain James Cook in Hawaii. Separated by two hundred sixty years, five thousand miles, and vast differences in cultural and linguistic context, these two incidents nonetheless share many traits in the conventional telling. Cortés and (...) Cook were both strong leaders, for instance, both capable of inspiring devotion among their subordinates. Both men became amateur ethnographers during their lengthy sojourns away from Europe, both sought to promote an image of respectful rather than rapacious foreign incursion, and both are said to have been taken for returning gods by the native peoples among whom they landed: Cortés for the Toltec culture-hero and demigod Quetzalcoatl, Cook for the Hawaiian deity Lono. Click for larger view View full resolutionFigure 1.“The Far Side” cartoon by Gary Larson. Courtesy of Chronicle Features, San Francisco.Recent scholarly studies and debates—among them the rather strident dispute between Gananath Obeyesekere and Marshall Sahlins over the alleged deification of Cook by eighteenth-century Hawaiians—have opened up these returning-god theories to skeptical critique and detailed justification; but such discussions have had little, if any, impact on popular imagination. 1 [End Page 405] Indeed, the idea that redoubtable European explorers can be (and often are) perceived as supernatural beings by non-European “primitives” has been uncritically perpetuated to this day by filmmakers, fantasists, writers of popular history, and purveyors of cultural literacy. E. D. Hirsch, Jr., for instance, informs our children that Caribbean islanders encountered by Columbus “asked if he had come from heaven”—the implication being, of course, that they took him for a god. 2 And in the recent film, 1492: Conquest of Paradise, we hear the indefatigable Admiral (played by Gerard Depardieu) claim that “on every island the natives welcome us with great generosity and trust.... Because of our appearance, we have been mistaken for gods, and are treated accordingly.” 3 Fortunately, we also have a “Far Side” parody of the cultural conceit on which such ideas in part rely, but the cartoon serves as well to demonstrate just how thoroughly the conceit has permeated our collective awareness (see figure 1). 4 Click for larger view View full resolutionFigure 2.“It’s against my programming to impersonate a deity.” From The Return of the Jedi, dir. Richard Marquand, Lucasfilm, Ltd., 1983. All Rights Reserved. Courtesy of Lucasfilm, Ltd.Let me offer just one other example. Near the end of the popular 1983 film The Return of the Jedi, the forest-dwelling Ewoks begin to chant and salaam upon first glimpsing the golden robot C-3PO, who in turn tells his captured comrades, “I do believe they think I am some sort of god.” When Han Solo sarcastically asks the robot to use his “divine influence” to help extricate them from their predicament, C-3PO replies that such an action would be improper: “It’s against my programming to impersonate a deity.” Here we see, embedded within a film romance, both the classic trope of the apotheosized foreigner and the related motif of the foreigner’s reluctance to [End Page 406] play the god-role (see figure 2). It is worth noting, however, that while C-3PO may be unwilling to exploit the Ewoks’ misperception, Luke Skywalker is not; he uses the “Force” to convince the Ewoks of the robot’s magical prowess and, more to the point, to perpetuate their misapprehension. 5What I wish to suggest in this essay is that certain habitual Western assumptions or conceits regarding cross-cultural encounters—assumptions which have been usefully termed “myth models” inasmuch as they condition human perception and find frequent discursive expression—coexist easily but in fact disjunctively with certain other ideological structures in many early modern travel narratives and colonial accounts. Obeyesekere, in his provocative book on the supposed deification of Captain Cook in Hawaii, has linked such myth models to the conceptual structures of the longue durée as characterized by Fernand Braudel, and it is possible that they may also be... (shrink)

The theories of cultural anthropologist Ernest Becker arise from an existential and psychological analysis of the death terror/anxiety deep in the unconscious of every human. Becker details how this anxiety governs the ideologies and behaviors of our species—something now confirmed by thousands of experiments performed by psychologists engaged in contemporary terror management theory (TMT). Humans manage their anxiety through what Becker terms “hero systems”—concepts, beliefs, and myths we create to give us a sense of significance and meaning during, and even (...) beyond our mortal lives. Today, many dominant economic, technological, and religious hero systems seek to confirm our significance by denying that we are—like all other species—animals who must exist in a decaying, mortal body. Becker shows how this attempt to deny our “creatureliness” (basic biological nature) causes humans to stand against the natural world we are embedded in, leading to an assault on the planet and nonhuman animals. As a result, Becker believed pacifism was the only hero system capable of keeping humankind from destroying itself and the earth. Pacifism is the precursor to the more encompassing ethical concept of “reverence for life,” advocated by Dr. Albert Schweitzer. By respecting the will-to-live in all sentient beings, reverence for life transcends concern for humans alone and extends moral and physical safeguards to life as such. Confronting the fact that humans are increasingly alienated from their commodified world and their own being, reverence for life stands as a vital solution to many of our modern problems. And following contemporary TMT research, reverencing life can also expand one’s self-esteem, which research shows lowers death anxiety, reduces aggression, and offers authentic meaning to life itself. (shrink)

This volume commemorates the centenary of Logical Investigations by subjecting the work to a comprehensive critical analysis. It contains new contributions by leading scholars addressing some of the most central analyses to be found in the book.

Boundary extension is a memory phenomenon in which an individual reports seeing more of a scene than they actually did. We provide the first examination of boundary extension in individuals diagnosed with depression, hypothesising that an overemphasis on pre-existing schema may enhance boundary extension effects on emotional photographs. The relationship between boundary extension and overgeneralisation in autobiographical memory was also explored. Individuals with (n = 42) and without (n = 41) Major Depressive Disorder completed a camera paradigm task utilising positive, (...) negative, and neutral stimuli. Across all participants, positive (d = 0.37) and negative (d = 0.66) stimuli were extended more than neutral stimuli. This effect did not differ between depressed and never-depressed participants. Across all participants, images containing objects were extended more than images containing faces. An association was also evident between extension effects in memory for perceptual space and extensions of autobiographical memory across time. (shrink)

Classifying different meditation techniques is essential for the progress of meditation research, as this will enable discerning which effects are associated with which techniques, in addition to supporting the development of increasingly effective and efficient meditation-based training programs and clinical interventions. However, both the task of defining meditation itself, as well as defining specific techniques, faces many fundamental challenges. Here we describe problems involved in this endeavor and suggest an integrated model for defining meditation. For classifying different meditation techniques, we (...) draw on classical, contemporary, and holistic systems of classification. We analyze different techniques and propose that all meditation techniques are based on a specific set of activities, that is: focusing, releasing, imagining, and moving in relation to an object of meditation, including fields of experience. Meditative activities can be combined and unified in the activities of observing, producing, and being aware. All meditative activities are unified in awareness of awareness. Defining specific meditation techniques may be done by specifying which activities and objects are involved. The advantage of our approach is that it can potentially account for the inner workings of all current systems of classification and hence it lays the foundation for formulating an overarching system of meditation that can guide future research and practice. (shrink)

The system of asylum seeker detention in Australia is one in which those seeking refuge are stripped of many of their rights, including the right to health. This presents serious ethical problems for healthcare providers working within this system. In this article we describe asylum seeker detention and analyse the role of nurses. We discuss how far an “ethics of care” and witnessing the suffering of asylum seekers can serve to improve their situation and improve ethical nursing practice.

The genetically-modified-organism (GMO) experience has been prominent in motivating science, industry, and regulatory communities to address the social and ethical dimensions of nanotechnology. However, there are some significant problems with the GMO-nanotech analogy. First, it overstates the likelihood of a GMO-like backlash against nanotechnology. Second, it invites misconceptions about the reasons for public engagement and social and ethical issues research as well as their appropriate roles in nanotech research, development, application, commercialization, and regulatory processes. After an explication of the standard (...) GMO-Nanotech analogy, these two problems are discussed in turn. (shrink)

Dominic Wilkinson suggests that one of Schubert’s songs has relevance for neonatologists today. In the song, Schubert suggests that death sometimes comes as a friend. Wilkinson ponders whether the song has a message for doctors and parents, who sometimes struggle to figure out whether death is an enemy or a friend to a dying baby. Wilkinson reflects on the case of baby ‘Hal’, who was born with serious cardiomyopathy. Hal’s parents and doctors disagree about whether to withdraw life-support. Through his (...) recreations of their discussions, Wilkinson shows how hard it is to confront—and maybe even welcome—death for a child. While adults often frame their own decision to forego life-sustaining treatment with thoughts that they have lived a good life, death in childhood can seem unfair because it robs the child of their opportunity to live a good or completed life. Much as we try, we cannot really imagine what a critically ill neonate experiences or desires. We have very little insight into Hal’s interests or subjective experience. Without direct access to the child’s experience, it is impossible to know whether, like an adult, a child would choose to allow death to occur. We cannot verify the claim that the child’s death was good in the sense that it was good for them. Wilkinson proposes that a prolonged dying process …. (shrink)

Variability in the emotion regulation (ER) strategies one uses throughout daily life has been suggested to reflect adaptive ER ability and to act as a protective factor in mental health. Moreover, psychological inflexibility and persistent negative affect (or affective inertia) are key features of depression and other forms of mental illness and are often further exacerbated by rigid or overly passive regulatory behaviours. The current study investigated the hypothesis that ER variability might serve as a protective factor against depressive symptoms (...) and affective inertia. Using experience-sampling (N = 213), we tested whether two indictors of ER variability (between- and within-strategy SDs) were related to depressive symptoms and affective inertia. We found that people with higher between-strategy variability and within-strategy variability (specifically for reappraisal and distraction) reported fewer depressive symptoms. Both within- and between-strategy variability were negatively related to negative affective inertia. Between-strategy variability and negative affective inertia had unique effects on depression, when used as simultaneous predictors. Altogether, this study provides further evidence for the utility of ER as a factor buffering against depressive symptoms and particularly for the use of variable ER strategies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Mystery of Sacramentality:Christ, the Church, and the Seven SacramentsCharles JournetTranslated by Aaron D. Henderson, with Introduction and NoteOriginally: Charles Journet, "Le Mystère de la sacramentalité: Le Christ, l'Église, les sept sacrements," Nova et Vetera 49 (1974): 161–214.Translator's IntroductionThe thought of Charles Cardinal Journet, venerable founder of the present journal and unparalleled twentieth-century master of Thomistic ecclesiology, merits a wider reception and a more ardent love.1 Not a few (...) have recognized this of late, producing articles and books dedicated to explicating his teaching.2 Nevertheless, much remains to be done to ensure that English speakers have fuller access to Journet's corpus. For instance, only the first [End Page 611] volume of L'Église du Verbe incarné,3 his magnum opus, has been translated into English.4 It is with this in mind that we set out to translate the article below. And it is no meager article that is reproduced below (though such a work is foreign to Journet), but one of considerable substance and importance. After all, it is a wonderful (and wonderfully extensive) expression of his post-conciliar Christology, ecclesiology, and sacramental theology. Indeed, written in 1974, but one year before his death, this article represents the mature fruit of many years of contemplation and prayer.With respect to his ecclesiology, Journet was influenced by the Second Vatican Council, in which he participated after his elevation to the episcopacy and cardinalate. As an example of this influence, an influence evident in the article below, the conciliar documents speak in several places of the sacramentality of the Church.5 The Church is, in Christ, a sacrament, "a sign and instrument both of a very closely knit union with God and of the [End Page 612] unity of the whole human race."6 Describing the Church as a sacrament is part of the Council's effort to unfold for the Catholic faithful and for the whole world the Church's inner nature and universal mission. Following the teaching of the Council, therefore, Journet includes the Church herself, in her being and action, in "the mystery of sacramentality."7But the mystery of sacramentality includes more than the Church. Indeed, there is a respect in which the entire economy of salvation is sacramental. Furthermore, the Church is a sacrament (a sign and instrument) only in a derived sense, in a way wholly dependent on her divine Spouse and Head. It is for this reason that Journet refers to Christ as "the sacrament of the divine life in its source" and to the Church as "the sacrament of the divine life communicated." Both Christ and the Church, then, are sacraments, but not in precisely the same manner. As Journet puts it, "Now, to which of these two is the Second Vatican Council's definition, 'universal sacrament of salvation,' suited? To Christ and to his Church respectively, though proportionally (that is, analogically)."8Journet's systematic ordering (first Christ, then the Church, and finally the sacraments) is intelligible and consonant with others who suggest that, had St. Thomas written an ecclesiological treatise in the Summa theologiae, it would be situated between the questions on Christ (ST III, qq. 1–59) and the questions on the sacraments (ST III, qq. 60–90).9 Journet begins [End Page 613] his work, however, with a reality that he refuses to call a sacrament, namely, the Most Holy Trinity. The Trinitarian mystery stands at the heart of the Christian faith; it is the source of the mystery of sacramentality. We see the splendor of the entire economy of salvation, and of the New Law especially, in the mystery of the Trinitarian indwelling and missions of the Son and Spirit. The Word became flesh, became human, so that he might rescue our sin-ravaged world. Jesus is, in his sacred humanity, the sacrament of the Trinity, the sacrament of the divine life in its source, to employ again Journet's language.Journet describes the Word as seizing or taking hold of the depths of his sacred humanity in his being and in his action. The Gospels bear authoritative witness to this, but they... (shrink)

This paper advances a version of the theory whereby logic had deep origins in democracy, by re-reading Gorgias’ Encomium of Helen. Democracy, ‘the government by debate’, called political (and scientific) attention to the inferential abilities of citizens and to politicians’ ability of taking advantage of them. Sophists, in particular, discovered that people’s inferences follow constant repeatable forms, that these forms have impact on choices and decisions concerning public good, and then by dominating them you dominate politics in democracy. With the (...) Encomium Gorgias launched these ideas, so laying the ground for Aristotle’s science of deduction. (shrink)

This article offers a novel reconstruction of Foucault’s methodology that emphasises his respect for the natural sciences. Foucault’s work has long been suspected of reducing knowledge to power, and thus collapsing into unconstrained relativism and methodological incoherence. These concerns are predicated on a misunderstanding of Foucault’s overall approach, which takes the form of a historico-critical project rather than a normative epistemology. However, Foucault does sometimes make normative epistemological judgements, especially about the human sciences. Furthermore, there are outstanding questions about what (...) secures the descriptive rigour of the genealogical method. To address these issues, I develop two claims that will significantly enrich our understanding of Foucault’s methodology. The first is that Foucault’s respect for the natural sciences is crucial in making sense of his normative epistemological judgements. The second is that the descriptive rigour of his genealogical method derives from the fact it is modelled on empirical inquiry. (shrink)

A significant share of the U.S. federal R&D budget is devoted to large-scale, complex technological systems commonly referred to as "big science. " Over the last two decades, these systems have continued to grow in size, complexity, development time, and cost. At the same time, political changes in the United States, particularly the concern over government spending and the federal budget deficit, have made it more difficult for proponents to secure and preserve support for these programs over their lifetimes. Using (...) the U.S. space shuttle and space station programs as examples, the article shows that the political requirements for obtaining approval and funding for large and expensive research and development projects create conditions that reduce the likelihood that they will succeed technologically. The problems of technology-based projects like those of the U.S. space program are in fact deeply rooted in the American political process itself. (shrink)

Heidegger nennt das Er-eignis, welches seinerseits nichts anderes ist als das Sein, den Sach-Verhalt. Er nennt das Sein, welches nichts anderes sein soll als Differenz, den Sachverhalt. Diese Aussage fordert dazu heraus, sich auf Sachverhalte als solche zu besinnen, um durch die systematische Betrachtung von Sachverhalten die Grundlage für eine kritische Auseinandersetzung mit Heideggers Sein als Sach-Verhalt bzw. Sachverhalt zu schaffen. Die Schaffung dieser Grundlage ist das Ziel der vorliegenden Untersuchung. Dies erfordert einerseits nichts Geringeres als eine Darstellung dessen, was (...) das Selbst oder die »Selbigkeit« von Heideggers Sein selbst, was m.a.W. die ontologische Differenz des Seins und was die Seinsverlassenheit sein soll. Andererseits aber ist es unabhängig von Heideggers Sach-Verhalt vor allem nötig, das Sein von Sachverhalten, d.h. ihr »Sosein« und »Dasein« einer Untersuchung zu unterziehen, und diese Untersuchung als die zentrale Aufgabe dieser Arbeit durchzuführen. Die Anwendung der Untersuchungsergebnisse auf Heideggers Sein als Sach- Verhalt/Sachverhalt zeigt: Heideggers Sein selbst, welches Sach-Verhalt sein soll, vermag Sachverhalte nicht zu erreichen und muß an Sachverhalten seine äußerste Fragwürdigkeit kundtun. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes on Psychodramatic Treatment of a Person with SchizophreniaJonathan D. Moreno, PhD (bio)I have enjoyed reflecting on Mr. Chapy’s account of work in psychodrama with a patient with schizophrenia.Although at one time many years ago I was interested in phenomenological psychiatry, and especially the writings of Ludwig Binswanger and Medard Boss, I am not an authority on dasein-analysis, so I have nothing to add to the discussion. I should (...) say, however, that my father had little interest in this approach, which was far too abstract for his taste. He proceeded from the standpoint of the theater, of action and enactment. He believed that the drama itself provided the insight.For the purposes of this response, I take it as a given that the patient in question has been accurately diagnosed, although in the description of the scene with his father he does not exhibit the usual symptoms, such as auditory hallucinations. People with schizophrenia often find it difficult to manage the voices they are hearing without substantial preparation for a psychodrama. According to psychodramatic method, one way to prepare them is to externalize the voices, allowing a different therapist to take the role of each one as the protagonist instructs them how to play that role. Chair may be set up so that each “voice,” personified by an auxiliary ego, can sit in each chair in an array. This preparation may require a number of sessions. If the scene is to be enacted with a significant other, like the father in this instance, the patient may not be able to warm up to a direct encounter, especially with all the different voices competing for his internal attention. So he may be directed to observe each voice in the encounter with his father, preferably played by a therapist of his choosing and trained for the role, usually by giving the father-player certain lines so that they can learn something about the father and the way he addresses his son.Or consider the patient whose illness manifests itself as delusions, often of a megalomaniac character. They may be a messiah, for example, or the rightful heir of a royal line whose identity is being suppressed by governmental forces. The patient might be invited to choose key therapists to play the roles of key members of their circle, [End Page 225] enacting critical scenes like the sermon on the mount or speeches to their oppressed followers. In this way the patient’s “act hunger” may be to some degree satiated and have a calming effect on their anxiety and irritation with the frustrating world around them that refuses to accept their “authentic” identity and belief system.In these ways, psychodrama therapy can take advantage of one of the remarkable advantages of this method for such patients, who are generally recalcitrant to talk therapy alone and for whom medication is at best modestly effective. Still, these disorders are among the most challenging for psychotherapists. Although the process of treating them may open up insights into the nature of the human mind, as Chapy has pursued in this paper, we await the neuroscience that can affect the kind of long-term remission they and their families so desperately wish. [End Page 226]Jonathan D. MorenoUniversity of Pennsylvania [email protected] D. Moreno Jonathan D. Moreno is a philosopher and historian who specializes in the intersection of bioethics, culture, science, and national security, and has published seminal works on the history, sociology and politics of biology and medicine. He is an elected member of the National Academy of Medicine.submitted on January 27, 2023Accepted on January 30, 2023Copyright © 2023 Johns Hopkins University Press... (shrink)