In this article, I analyze discourse from three group interviews to come to a better understanding of how young people communicate about feminism and the factors that can complicate and disrupt this communication. I analyze both the ways that the interview, as a speech event, evokes expectations and assumptions in participants and shapes how they interact, and how participants’ ideologies about feminism affect the way the interviews transpire. An equally important component of my project was to explore how (...) feminism could translate into a research method. Throughout this article, I reflexively examine my research practices and analyses and identify the successes and shortcomings I had while attempting to conduct a research study consistent with feminist values. (shrink)

An interview with Michel Foucault in 1979 that was never published during his lifetime and was recently rediscovered in the archives. The interview, appearing for the first time in English and in its complete form, marks one of Foucault’s final public discussions of the contentious topic of the Iranian Revolution. In particular, Foucault clarifies what he means by “political spirituality” and addresses the respective relations between religion, revolution, and self-transformation.

The topics discussed in the interview cover the development and activities of the Konrad Lorenz Institute for Evolution and Cognition Research as one of the most important theoretical biology centers in the world, the reasons for its inspiring atmosphere, as well as the development of the interests and research work of its longtime president Gerd B. Müller. An important part of this is the work on a revised theoretical framework of evolution, the Extended Evolutionary Synthesis. We also talk about the (...) place of biosemiotics in biology and about the situation and future perspectives of theoretical biology in general. With this interview we celebrate Gerd Müller’s 70th birthday. (shrink)

This interview deals with the major themes in the work of Ruth Millikan. Her most fundamental idea is that the intentionality of inner and outer representations can be understood in analogy to biological functions. Another innovative feature is the view that thought and language stand parallel to each other. Thirdly, the basic ideas concerning the ontology and the epistemology of concepts are explained. Millikan aims at clarifying her position by contrasting it with Dretske, Fodor, Sellars, and Brandom. Finally, the interview (...) addresses topics that pose problems for her account as well as questions she does not treat in her work. (shrink)

In broadcast news interviews, interviewees will occasionally address the interviewer by name. As a method of establishing the directionality of talk, address terms are redundant in this institutional context because the normative question/answer activity structure and associated participation framework make the direction of address transparent and knowable in advance. But address terms can be deployed in the service of a variety of actions beyond addressing per se. Some of these involve disaligning actions such as topic shifts, non-conforming responses, (...) and disagreements. Others involve the presentation of views as particularly significant or sincere. Address terms are thus a resource for managing certain expressive properties of talk, as well as its disalignment from prior talk. (shrink)

ArgumentIn the spring of 1893, the Austrian writer and critic Hermann Bahr began interviewing various people on antisemitism, a subject of heated discussion in the European feuilleton around 1900. “Once again, I am travelling the world sounding out people’s opinions and listening to what they have to say,” he wrote in his introduction to a series of articles on that issue that appeared in the feuilleton of the Deutsche Zeitung between March and September 1893. A year later, the Berlin publishing (...) house S. Fischer turned Bahr’s articles into a book. Bahr conducted a total of thirty-eight interviews with prominent personages, such as August Bebel, Theodor Mommsen, Ernst Haeckel, Henrik Ibsen and Jules Simon. Bahr did not focus on the arguments in favour or against antisemitism. Instead, he set out explicitly to investigate the sentiments, perceptions and opinions on this topic within the cultured classes. Yet, as I will show in this article, Bahr tried to capture not only the “sentiments” [Empfindungen] aired by his interviewees, but also the settings and interiors in which the interviews took place. I argue that these descriptions of physical space served Bahr as authentication, as a three-dimensional certificate for the “facts of opinion” [Meinungstatsachen] he recorded. (shrink)

This interview comprises different key aspects of Pierre Bourdieu’s work. Amongst others, the following topics are treated: the development of Frédéric Lebaron’s collaboration with Bourdieu, the political and ideological conditions prevailing at the time of Bourdieu’s early works and during the phase of his establishment, the epistemological foundations of Bourdieu’s relationism, the relationship to other modern paradigms such as Fligstein’s and McAdam’s field theory, Hedström’s analytical sociology, discourse analysis, network analysis, and a debate on relationalism, causality, and rationality within the (...) architecture of Bourdieu’s theory. (shrink)

Over the last half decade or so, Jürgen Habermas has increasingly employed the interview format, both as a means of presenting his changing views on philosophical topics in an accessible way, and as a means of debating current social and political issues. This new, expanded edition of Autonomy and Solidarity includes an additional five interviews in which Habermas discusses such themes as the history and significance of the Frankfurt School, the social and political development of post-war Germany, the moral (...) status of civil disobedience, the implications of the "Historians' Dispute," and the function of national identity in the modern world. Never before published autobiographical material covering Habermas' early years at the Frankfurt Institute for Social Research is followed by an extended philosophical interrogation of his latest thinking on the relations between ethics, morality and law. With an extended introduction by Peter Dews, exploring the status and prospects of Critical Theory in the light of the recent revolutionary transformations in Europe, Autonomy and Solidarity should be of interest and value both to newcomers and those already familiar with Habermas' thought. (shrink)

A taped conversational interview with Daniel Dennett and Bill Uzgalis covers a wide range of topics arising from Dennett’s thoughts about computing and human beings. The background of Dennett’s work is explored as are his views about mind-brain identity theory, artificial intelligence, functionalism, human exceptionalism, animal culture, language, pain, freedom and determinism, and quality of life.

Over the last half decade or so, Jürgen Habermas has increasingly employed the interview format, both as a means of presenting his changing views on philosophical topics in an accessible way, and as a means of debating current social and political issues. This new, expanded edition of Autonomy and Solidarity includes an additional five interviews in which Habermas discusses such themes as the history and significance of the Frankfurt School, the social and political development of post-war Germany, the moral (...) status of civil disobedience, the implications of the "Historians' Dispute," and the function of national identity in the modern world. Never before published autobiographical material covering Habermas' early years at the Frankfurt Institute for Social Research is followed by an extended philosophical interrogation of his latest thinking on the relations between ethics, morality and law. With an extended introduction by Peter Dews, exploring the status and prospects of Critical Theory in the light of the recent revolutionary transformations in Europe, Autonomy and Solidarity should be of interest and value both to newcomers and those already familiar with Habermas' thought. (shrink)

In this interview for the TCS website, Angelo Martins Jr interviews Professor Julia O’Connell Davidson about her recent book, Modern Slavery: The Margins of Freedom. The interview further discusses some of the most prominent topics examined by O’Connell Davidson’s book, such as her understanding of modern slavery and her critique on how anti-slavery movements, NGOs and right-wing and social democratic media and politicians have mistakenly appropriated and used the term. The interview further considers some of the global contemporary social, (...) political and economic issues, such as ‘the refugee crisis’, border control, citizenship and global socio-economic inequalities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 197-201 [Access article in PDF] An Interview with Donald Mitchell and James Wiseman The 2002 Fred Streng Book Award has been given to Donald W. Mitchell and James Wiseman for their edited collection, The Gethsemani Encounter: A Dialogue on the Spiritual Life by Buddhist and Christian Monastics. Donald W. Mitchell is professor of comparative philosophy at Purdue University and a member of the editorial advisory (...) board of Buddhist-Christian Studies. James Wiseman is a member of the Benedictine community of St. Anselm's Abbey in Washington, D.C., and is an associate professor of theology at the Catholic University of America. Following is an edited interview with both.DONALD MITCHELL How long have Buddhist and Christian monastics been in dialogue? In 1978 the Benedictine Confederation founded what is now named the Monastic Interreligious Dialogue (MID) in order to develop intermonastic dialogue, especially with Buddhism. MID has been in dialogue with Buddhism in Europe, Asia, Australia, and North America. Numerous MID spiritual exchanges and hospitality programs have taken place between Buddhist and Christian monastics over the years. How did the Dalai Lama get involved? His Holiness the Dalai Lama met with Thomas Merton in 1968, and from then on has been interested in Christian monasticism. He first got involved with MID when several of their members spoke with him at an East-West conference at the Naropa Institute in Boulder, Colorado, in 1981. This was the beginning of a series of intermonastic hospitality exchanges, with Tibetan Buddhist monks and nuns visiting Christian monasteries in the United States and Christian monastics being hosted at Tibetan Buddhist sites in India. Years later, at the Parliament of World's Religions in 1993, MID hosted a Buddhist-Christian dialogue on "Emptiness and Kenosis." The Dalai Lama took part in the dialogue and afterward told MID that he felt its dialogue with Buddhism had matured to the point [where] it would be helpful to have a weeklong retreat dialogue on the spiritual life in Buddhism and Christianity. Where did Gethsemani enter the picture? The Dalai Lama asked if it would be possible to hold the spiritual dialogue at Gethsemani Abbey, home of his friend Thomas Merton. In 1994 MID sent a delegation [End Page 197] to Dharamsala to discuss the proposal in more depth with the Dalai Lama. An agreement was reached to hold a retreat dialogue at Gethsemani Abbey with Buddhist and Christian teachers of spirituality coming from around the world. You're not a monk. How did you get involved? Good question. A year later, Sister Mary Margaret Funk, executive director of MID, met with me to request that I help organize the encounter as a lay advisor to MID. MID had used my book, Spirituality and Emptiness: The Dynamics of Spiritual Life in Buddhism and Christianity, to prepare for the Parliament dialogue on kenosis and emptiness. I agreed to help with inviting the Buddhist participants, crafting the program, and editing the proceedings. What developments in the dialogue have you seen occurring over the years? Many developments. As you can imagine, the Gethsemani Encounter in 1996 was itself a spiritual experience. As Ewert Cousins put it, there seemed to be two treasure boxes—Buddhism and Christianity—set before us in a spiritual atmosphere that enabled us to appreciate the gems of spiritual living shared by the participants. So the encounter itself brought the dialogue to a new stage of trust, understanding, and appreciation. This development can be seen in the fact that Buddhist participants suggested a project be undertaken to produce a Buddhist commentary on the Rule of St. Benedict. The result is Benedict's Dharma: Buddhists Reflect on the Rule of Saint Benedict, edited by Patrick Henry and published by Riverhead Books in 2001. What else? A small group of American Buddhist leaders and MID members met in 1999 to discuss the possibility of holding a Gethsemani Encounter II. It was decided to bring the dialogue ahead by focusing on one of the major topics that came up again and again at Gethsemani I—namely, the... (shrink)

This study explores the perceptions of Norwegian nurses who have received assisted dying requests from terminally ill patients. Assisted dying is illegal in Norway, while in some countries, it is an option. Nurses caring for terminally ill patients may experience ethical challenges by receiving requests for euthanasia and assisted suicide. We applied a qualitative research design with a phenomenological hermeneutic approach using open individual interviews. A total of 15 registered nurses employed in pulmonary and oncology wards of three university (...) hospitals and home care in one municipality were recruited. Four themes emerged from the analysis: (1) unprepared for the request; (2) meeting direct, indirect, and nonverbal requests; (3) working in a gray zone, and (4) feeling alone and powerless. The study found that nurses were unsure how to handle such requests due to professional uncertainty about assisted dying. Working in an environment where the topic is taboo made nurses morally uncertain, and some perceived this as moral distress. The hospital chaplain played a significant role in providing support to these nurses. (shrink)

continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

This ‘story from the field’ emerges from qualitative research conducted with relatives of patients admitted to intensive care. A disturbing feature of researching the needs of family members of critically ill patients is the intense emotion that is often generated during the course of interviewing. For some the opportunity to talk about the experience of having a loved one in an intensive care unit was therapeutic; for others it meant anguish and despair as they relived the event that resulted in (...) a life‐threatening illness. Despite being a reasonably experienced educator and critical care nurse, I was unprepared for the intensity of feelings shown by many of the participants. I found that exposure to this kind of suffering was emotionally draining, experiencing the various roles of confidante, nurse, counsellor and researcher. It became important to share my thoughts and feelings and unwind with an independent friend and colleague as a way of debriefing. Methodological and ethical issues that arose included: generating a situation that potentially required therapeutic intervention; the impact on the ‘purity’ of data of becoming emotionally enmeshed; and the level of investigator preparedness when researching sensitive topics. The issue of walking away from an intensely emotional and intimate interview often leaves one with a sense of ‘unfinished business’. (shrink)

A new, expanded, and reorganized edition of a collection of texts that present a fuller scope to Guattari's thinking from 1977 to 1985. This new edition of Soft Subversions expands, reorganizes, and develops the original 1996 publication, offering a carefully organized arrangement of essays, interviews, and short texts that present a fuller scope to Guattari's thinking from 1977 to 1985. This period encompasses what Guattari himself called the “Winter Years” of the early 1980s—the ascent of the Right, the spread (...) of environmental catastrophe, the rise of a disillusioned youth with diminished prospects for career and future, and the establishment of a postmodernist ideology that offered solutions toward adaptation rather than change—a period with discernible echoes twenty years later. Following Semiotext's release last season of the new, expanded edition of Chaosophy: Texts and Interviews 1972–1977, this book makes Guattari's central ideas and concepts fully available in the format that had been best suited to Guattari's temperament: the guerrilla-styled intervention of the short essay and interactive dialogue. This edition includes such previously unpublished, substantive texts as “Institutional Intervention” and “About Schools,” along with new translations of “War, Crisis, or Life” and “The Nuclear State,” interviews and essays on a range of topics including adolescence and Italy, dream analysis and schizo-analysis, Marcel Proust and Jimmy Carter, as well as invaluable autobiographical documents such as “I Am an Idea-Thief” and “So What.”. (shrink)

‘We are before Dante’: In this interview, held via email in March 2020 amid the massive outbreak of the COVID-19 pandemic, Jean-Luc Nancy leads us on a brief but far-reaching foray through his thought. He succeeds in providing an overview of the subjects that he has raised since the beginning of his career as a philosopher, while maintaining a focus on their pertinence for what we are currently facing in the world today. He supplements his insight that ‘we are before (...) Dante’ with the equally remarkable conclusion: ‘Desire is what is born par excellence’. In between these two propositions, and in between the lines and words documented here – touching upon topics as diverse as the moai statues of Easter Island, the music of Schumann, Wagner, and techno, as well as the writing of Artaud, Proust, and Verlaine – we find an exciting, up-to-date treatment of the question of how to ‘deal with the world intellectually’ without, in doing so, participating in the modern claim to ‘master’ it. Instead, Nancy suggests, we ought to be attentive to what escapes us by its very principle, with philosophy, literature, and art serving as witnesses of what has always been absent from our mind, that is, the sensibility of meaning, in order to become aware that, since we are always already before and after birth, ‘we come from nowhere and everywhere’. This realization enables us to understand the political consequences that it has for our understanding of a world in metamorphosis, including for highly controversial issues such as colonialism, anti-Semitism, the far right, neo-liberalism, and other totalitarian forms that supposedly manifest a return of the myth, as well as its consequences for the insurmountability of Marx. (shrink)

Ethical Reporting of Sensitive Topics explores the underlying complexities that journalists may face when covering difficult news stories. Reporting on issues such as suicide, sexual abuse, or migration is a skill that is often glossed over in a journalist’s education. By combining theory and practice, this collection will correct this oversight and give journalists the expertise and understanding to report on these subjects responsibly and ethically. Contributors to this volume are an international group of journalists-turned- academics, who share their first-hand (...) experiences and unique professional insight into best ethical journalistic practice for reporting on sensitive topics. Drawing from a range of case studies, contributors discuss the most appropriate approach to, for example, describing a shooter who has killed a group of schoolchildren or interviewing someone who has lost everything in a natural disaster. Readers are invited to consider factors which have the potential to influence the reporting of these sorts of topics, including bias, sensationalism, conflict of interest, grief, vulnerability, and ignorance of one’s own privilege. Ethical Reporting of Sensitive Topics aims to support all journalists, from students of journalism and individuals encountering a newsroom for the first time, to those veteran journalists or specialist journalists who seek to better their reporting skills. (shrink)

This new edition of Soft Subversions expands, reorganizes, and develops the original 1996 publication, offering a carefully organized arrangement of essays, interviews, and short texts that present a fuller scope to Guattari's thinking from 1977 to 1985. This period encompasses what Guattari himself called the "Winter Years" of the early 1980s--the ascent of the Right, the spread of environmental catastrophe, the rise of a disillusioned youth with diminished prospects for career and future, and the establishment of a postmodernist ideology (...) that offered solutions toward adaptation rather than change--a period with discernible echoes twenty years later. Following Semiotext's release last season of the new, expanded edition of Chaosophy: Texts and Interviews 1972--1977, this book makes Guattari's central ideas and concepts fully available in the format that had been best suited to Guattari's temperament: the guerrilla-styled intervention of the short essay and interactive dialogue. This edition includes such previously unpublished, substantive texts as "Institutional Intervention" and "About Schools," along with new translations of "War, Crisis, or Life" and "The Nuclear State," interviews and essays on a range of topics including adolescence and Italy, dream analysis and schizo-analysis, Marcel Proust and Jimmy Carter, as well as invaluable autobiographical documents such as "I Am an Idea-Thief" and "So What.". (shrink)

Noam Chomsky is one of the most influential thinkers of our time, yet his views are often misunderstood. In this previously unpublished series of interviews, Chomsky discusses his iconoclastic and important ideas concerning language, human nature and politics. In dialogue with James McGilvray, Professor of Philosophy at McGill University, Chomsky takes up a wide variety of topics – the nature of language, the philosophies of language and mind, morality and universality, science and common sense, and the evolution of language. (...) McGilvray's extensive commentary helps make this incisive set of interviews accessible to a variety of readers. The volume is essential reading for those involved in the study of language and mind, as well as anyone with an interest in Chomsky's ideas. (shrink)

Since the collapse of communism in Eastern Europe, the validity of Marxism and Marxist theory has undergone intense scrutiny both within and outside the academy. In _Lukács After Communism_, Eva L. Corredor conducts ten lively and engaging interviews with a diverse group of international scholars to address the continued relevance of György Lukács’s theories to the post-communist era. Corredor challenges these theoreticians, who each have been influenced by the man once considered the foremost theoretician of Marxist aesthetics, to reconsider (...) the Lukácsean legacy and to speculate on Marxist theory’s prospects in the coming decades. The scholars featured in this collection—Etienne Balibar, Peter Bürger, Terry Eagleton, Fredric Jameson, Jacques Leenhardt, Michael Löwy, Roberto Schwarz, George Steiner, Susan Suleiman, and Cornel West—discuss a broad array of literary and political topics and present provocative views on gender, race, and economic relations. Corredor’s introduction provides a biographical synopsis of Lukács and discusses a number of his most important theoretical concepts. Maintaining the ongoing vitality of Lukács’s work, these interviews yield insights into Lukács as a philosopher and theorist, while offering anecdotes that capture him in his role as a teacher-mentor. (shrink)

Rosso: Can you say something more about the differences between your work and Derrida’s?De Man: I’m not really the right person to ask where the difference is, because, as I feel in many respects close to Derrida, I don’t determine whether my work resembles or is different from of Derrida. My initial engagement with Derrida—which I think is typical and important for all that relationship which followed closely upon my first encounter with him in Baltimore at the colloquium on “The (...) Languages of Criticism and the Sciences of Man”—had not to do with Derrida nor with me, but with Rousseau. It happened that we were both working on Rousseau and basically on the same text, by sheer coincidence. It was in relation to Rousseau that I was anxious to define, to try to work out some … not discrepancies … but some change of emphasis between what Derrida does and what I’m doing. And there may be something in that difference between us that remained there, to the extent that in a very genuine sense—not as denegation or as false modesty —my starting point, as I think I already told you, is not philosophical but basically philological and for that reason didactical, text-oriented. Therefore I have a tendency to put upon texts an inherent authority, which is stronger, I think, than Derrida is willing to put on them. I assume, as a working hypothesis , that the text knows in an absolute way what it’s doing. I know this is not the case, but it is a necessary working hypothesis that Rousseau knows at any time what he is doing and as such there is no need to deconstruct Rousseau. In a complicated way, I would hold to that statement that “the text deconstructs itself, is self-deconstructive” rather than being deconstructed by a philosophical intervention from the outside of the text. The difference is that Derrida’s text is so brilliant, so incisive, so strong that whatever happens in Derrida, it happens between him and his own text. He doesn’t need Rousseau, he doesn’t need anybody else; I do need them very badly because I never had an idea of my own, it was always through a text, through the critical examination of a text … I am a philologist and not a philosopher: I guess there is a difference there … I think that, on the other hand, it is of some interest to see how the two different approaches can occasionally coincide, at the point that Gasché in the two articles he as written on this topic says that Derrida and myself are the closest when I do not use his terminology, and the most remote when I use terms such as deconstruction: I agree with that entirely. But, again, I am not the one to decide on this particular matter and I don’t claim to be on that level … Stephano Rosso teaches English literature at the University of Verona and is writing a dissertation in comparative literature at SUNY—Binghamton. Among other works, he has coedited, with Naurizio Ferraris, Decostruzione tra filosofia e letteratura and Estetica e decostruzione. He is presently translating Paul de Man’s Resistance to Theory into Italian. (shrink)

Online research offers advantages including recruitment cost, diminished equity-related participation barriers, and convenience; however, there are growing concerns regarding fraudulent participation. Guidance to navigate these challenges exists for online research generally (e.g. surveys), but remains sparse for the specific challenge of fraudulent participation within virtual synchronous interviews. No work has explored this topic within an explicit, detailed ethical framework. Reflecting on our experiences navigating fraudulent participation in virtual synchronous research, we address this gap using the Canadian Code of (...) Ethics for Psychologists as a guiding framework to describe challenges, explore ethical considerations, and identify potential solutions and research directions. (shrink)

Iran's nuclear program has garnered a great deal of media attention for nearly a decade, yet critical discourse scholars have been relatively silent on the matter. To spur more scholarship on the nuclear controversy, this study examines the language of nine interviews with former US Secretary of State Condoleezza Rice. Analyzing the opening questions of topic shifts, the relationship of scope and topic, and Secretary Rice's portrayal of the US and Iran, I argue that Rice used her (...) media access as a platform to encourage audiences to see Iran's nuclear program as a nuclear weapons program, often with the complicity of her interviewers and always without evidence. In the wake of the unilateralist American invasion of Iraq, Secretary Rice also worked to rebuild a positive image of the White House as she presented the US as a proponent of multilateral diplomacy as opposed to her portrayal of the Islamic Republic as a rogue state. (shrink)

Ken Wilber : Well.... I started keeping these journals as a type of experiment. They are definitely personal journals, like a diary--they contain personal incidences, meditation experiences, accounts of events in my daily life, and so on. But they also contain entries that are short essays--anywhere from one to ten pages--on topics that are of concern to me and my writing, and I hope are of concern to others.

Interviewet er lavet i juli 2021. Dets formål er at belyse emner, der er centrale i Celikates’ tænkning, f.eks. den voksende højrefløjspopulisme, migration, voldelige versus ikke-voldelige protester, civil ulydighed og den kritiske filosofis rolle i dag. -/- When Celikates and I sat down digitally in July 2021, the interview’s primary purpose was to examine topics central to Celikates’ thinking, such as the rise of right-wing populism, migration, violent versus non-violent protest, civil disobedience, and the role of critical philosophy today.

Organizational purpose has flourished in the professional management literature, yet despite increased scholarly interest, academic knowledge and empirical research on the topic remain scarce. Moreover, studies that have been conducted contain important oversights including the lack of a clear conceptualization and misinterpretations that hinder the further development and understanding of organizational purpose. In view of these shortcomings, our interview study aimed to contribute to academic and societal conversations on the contemporary meaning and function of organizational purpose considering the voices (...) and perspectives of 44 global experts. Employing template analysis, we defined organizational purpose as “an organization’s reason for being characterized by significance, aspiration, direction, unification, and motivation.” Moreover, we proposed an explanatory conceptual model, including drivers and outcomes of purpose, important boundary conditions, and explanatory mechanisms. Drawing on self-determination theory, person–organization fit theory, job characteristics theory, and conservation of resources theory, we were able to explain how and under what conditions these concepts are related to organizational purpose. In doing so, our research contributes to advancing the knowledge and understanding of organizational purpose and its effects on human lives within and outside organizations. Our study thereby enhances the understanding of the role of organizations in society and helps in evaluating whether organizations take responsibility by living their purpose in the society they are part of. As such, our study provides important insights for theory development, scale development, and further empirical research on organizational purpose and its effects in different streams such as OB, HRM, marketing, leadership, and strategy. (shrink)

Preview: /Zofia Rosińska interviewed by Mikołaj Sławkowski-Rode/ MSR: Your book Po śladach. Doświadczenie modlitewne w ujęciu filozofii kultury [After the Traces. The Experience of Prayer in the Perspective of Philosophy of Culture] has an unusual format for an academic work. Apart from an overview and discussion of various conceptions and examples of prayer you have added an annex containing eight interviews with various people as well as five testimonials concerning the experience of prayer – some very intimate. What was (...) the motivation for choosing such a format and how did you select the texts comprising the annex? ZR: My book is not a cultural study or a work of theology, psychology, or psychiatry, although it touches the boundaries of all these disciplines. What I mean here is that it takes up topics and utilizes the categories specific to these fields. My book is a book about the human being and it is written from the perspective of philosophy of culture. You say that the format of my book is not typical for an academic work, because of the decision to include the annex containing conversations with people who pray and with others who reject it. This is true. However my book necessitates this minor structural difference. The goal of the book was to discern and understand various forms of prayer present in our culture: from set prayers through poetry, painting and music to activities like work. I call this ‘ontological prayer’. Unfortunately I could not include painting and music in this work. (shrink)

This volume brings together 13 interviews with some of the brightest names in contemporary philosophy, including W.V.O. Quine, Richard Rorty, Stanley Cavell, Hilary Putnam, as well as John Rawls. Covering a wide range of topics from the philosophy of law and logic to metaphysics to literature, the interviews in this text provide an introduction to some of the most influential thinkers of the day.

This interview with Antonio A. Arantes, Brazilian anthropology professor and recognized specialist on the topics of intellectual property and traditional knowledge, addresses the 2008 request by Brazilian ayahuasca groups to be recognized as part of the immaterial cultural heritage of Brazil. In the first portion of the interview, Arantes reflects on the challenges of the new conceptions of the Brazilian national immaterial policy program. He discusses several examples of cultural goods recognized by the Brazilian state, such as the candomblé and (...) the samba, and analyzes the controversial issues involving authenticity and tradition in these and other similar cases. In the second portion, Arantes reflects on the specific case of ayahuasca, the relationship of this cultural heritage request to legal issues, the challenges to define exactly what aspects should be recognized, and speculates on the chances that these religious groups will come to be recognized as a national symbol of Brazil. (shrink)

In media-centered democracies, political TV interviews can reveal a lot about the relationship between journalists and politicians. However, knowledge about these formats during non-election times is lacking. Against this background, this study aims to generate insights about specific conversation strategies, the staging of politics, and agenda control in a long-term comparison, and to link them with media logic, which has been identified as a factor that shapes agenda-setting strategies in related contexts. Following a static-dynamic approach, a quantitative content analysis (...) was conducted for all statements (N=19,108) from 125 episodes of a specific Austrian interview format in a one-on-one setting broadcast between 1981 and 2016. Regarding the number of statements in which a newly introduced topic is discussed as a measure for agenda control, specific conversation strategies were identified that contribute to a stronger position for journalists. Moreover, specific aspects of media logic help to introduce and anchor a new topic, although their success varies over the decades. (shrink)

This paper reports a literature review on the topic of ethical issues in in-depth interviews. The review returned three types of article: general discussion, issues in particular studies, and studies of interview-based research ethics. Whilst many of the issues discussed in these articles are generic to research ethics, such as confidentiality, they often had particular manifestations in this type of research. For example, privacy was a significant problem as interviews sometimes probe unexpected areas. For similar reasons, it (...) is difficult to give full information of the nature of a particular interview at the outset, hence informed consent is problematic. Where a pair is interviewed (such as carer and cared-for) there are major difficulties in maintaining confidentiality and protecting privacy. The potential for interviews to harm participants emotionally is noted in some papers, although this is often set against potential therapeutic benefit. As well as these generic issues, there are some ethical issues fairly specific to in-depth interviews. The problem of dual role is noted in many papers. It can take many forms: an interviewer might be nurse and researcher, scientist and counsellor, or reporter and evangelist. There are other specific issues such as taking sides in an interview, and protecting vulnerable groups. Little specific study of the ethics of in-depth interviews has taken place. However, that which has shows some important findings. For example, one study shows participants are not averse to discussing painful issues provided they feel the study is worthwhile. Some papers make recommendations for researchers. One such is that they should consider using a model of continuous (or process) consent rather than viewing consent as occurring once, at signature, prior to the interview. However, there is a need for further study of this area, both philosophical and empirical. (shrink)

Violence against women has been a topic engaging feminist legal scholars for a long time, with a renewed feminist advocacy emerging to highlight sexual violence experienced by women during the armed conflicts in the Former Yugoslavia and Rwanda in the early 1990s. One of the most important legal developments to emerge from this has been the creation of the office of the Special Rapporteur on Violence against Women, its Causes and Consequences, as part of a series of developments at (...) the UN level that finally accorded explicit recognition to violence against women as a human rights concern. In May 2015, Dr. Daniela Nadj interviewed UN Special Rapporteur, Professor Rashida Manjoo, during her visit to give the annual lecture at the Criminal Justice Centre, Queen Mary, University of London. The interview, an edited version of which is presented here, addressed broad themes including the meaning of liberation for women, especially in a post-conflict setting, the pervasive socio-economic inequality faced by women as an enduring obstacle to equality around the world, the normativity gap on violence against women, academic activism, and the politics of legal information. (shrink)

As a result of a growing interest in neoliberal political economy, surveillance and new forms of data, questions around metrics and the governance of life are moving to the forefront of contemporary conceptual analysis. This particular interview draws upon the key themes from Btihaj Ajana’s recently published book Governing through Biometrics: The Biopolitics of Identity. Although the interview focuses centrally upon the book, it also covers broader topics including identity, measurement, the work of Foucault, big data, biopolitics, bioethics and biometrics. (...) Ajana’s book sketches out a valuable conceptual set of resources for thinking through these pressing issues, the interview looks to explore how such a set of resources might continue to develop. (shrink)

This paper discusses a study examining how mentors in nurse education make professional judgments about the clinical competence of their pre‐registration nursing students. Interviews were undertaken with nine UK students and 15 mentors, using critical incidents in practice settings as a focus. The study was undertaken for the English National Practice‐Based Professional Learning Centre for Excellence in Teaching and Learning. This paper reports on the conversation analytic thread of the work. The mentor role with pre‐registration nursing students is not (...) only supportive but involves formal assessment. Central to the relationship is communication. In professional education, communication is seen as a skill to be applied and assessed in practice settings but is also the medium mentors and mentees use to talk about the relationship. Analysis of excerpts of conversation in the interviews shows that episodes of communication are used as topics of conversation to establish professional identity. It also reveals that judgments about the extent of professional capacity of both students and mentors are grounded in everyday behaviours (for example, enthusiasm, indifference and confidence) as well as professional competence. In addition to focusing on clinical issues, mentors can and do use mundane communication as a resource for judgments about competence. (shrink)

BackgroundOne of the next frontiers in HIV research is focused on finding a cure. A new priority includes people with HIV (PWH) with non-AIDS terminal illnesses who are willing to donate their bodies at the end-of-life (EOL) to advance the search towards an HIV cure. We endeavored to understand perceptions of this research and to identify ethical and practical considerations relevant to implementing it.MethodsWe conducted 20 in-depth interviews and 3 virtual focus groups among four types of key stakeholders in (...) the United States (PWH, biomedical HIV cure researchers, HIV clinicians, and bioethicists) to obtain triangulated viewpoints because little was known about the ethics of this topic. Each group was queried as to ethical considerations, safeguards, and protections for conducting HIV cure-related research at the EOL to ensure this research remains acceptable.ResultsAll four key stakeholder groups generally supported HIV cure-related research conducted at the EOL because of the history of altruism within the PWH community and the potential for substantial scientific knowledge to be gained. Our informants expressed that: (1) Strong stakeholder and community involvement are integral to the ethical and effective implementation, as well as the social acceptability of this research; (2) PWH approaching the EOL should not inherently be considered a vulnerable class and their autonomy must be respected when choosing to participate in HIV cure-related research at the EOL; (3) Greater diversity among study participants, as well as multi-disciplinary research teams, is necessitated by HIV cure-related research at the EOL; (4) The sensitive nature of this research warrants robust oversight to ensure a favorable risk/benefit balance and to minimize the possibility of therapeutic misconception or undue influence; and (5) Research protocols should remain flexible to accommodate participants’ comfort and needs at the EOL.ConclusionBecause of the ethical issues presented by HIV cure-related research at the EOL, robust ethical safeguards are of utmost importance. The proposed ethical and practical considerations presented herein is a first step in determining the best way to maximize this research’s impact and social value. More much inquiry will need to be directed towards understanding context-specific and cultural considerations for implementing EOL HIV cure research in diverse settings. (shrink)

In this interview, Christopher Norris discusses a wide range of issues having to do with postmodernism, deconstruction and other controversial topics of debate within present-day philosophy and critical theory. More specifically he challenges the view of deconstruction as just another offshoot of the broader postmodernist trend in cultural studies and the social sciences. Norris puts the case for deconstruction as continuing the 'unfinished project of modernity' and—in particular—for Derrida's work as sustaining the values of enlightened critical reason in various spheres (...) of thought from epistemology to ethics, sociology and politics. Along the way he addresses a number of questions that have lately been raised with particular urgency for teachers and educationalists, among them the revival of creationist doctrine and the idea of scientific knowledge as a social, cultural, or discursive construct. In this context he addresses the 'science wars' or the debate between those who uphold t. (shrink)

This new collection gathers 23 highly insightful yet previously difficult-to-find interviews with Baudrillard, ranging over topics as diverse as art, war, technology, globalisation, terrorism and the fate of humanity. From familiar themes to the less well understood aspects of his thought, these interviews give you an overview of Baudrillard's ideas - without the jargon typical of written texts. Read as Baudrillard himself discusses, explains and elaborates on his ideas, making this collection essential for understanding many of his other (...) works. (shrink)

In this Interview, Professor Robert B. Brandom answered ten detailed questions about his philosophy of Rational Pragmatism and Semantic Expressivism, grouped into four topics. 1. Metaphysics and Anthropology, 2. Pragmatics and Semantics, 3. Epistemic Expressivism and 4. Philosophy of Logic. With his careful answers Professor Brandom offers many additional insights into his rigorously constructed account of the relationship “between what we say and think, and what we are saying and thinking about” around the human practice of asking for and giving (...) reasons. A final, additional question pointed at a principal motivation for putting together the present issue: how to reconcile Wittgenstein’s assertion that philosophy must not proffer any theories with the very explicit system of explanations Brandom has constructed. This same issue is addressed to some extent already in Professor Brandom’s new article contained in this issue, but his answer, asserting that he does not proffer a theory but only makes explicit what is already there, might be seen as an unambiguous statement of the continuous presence of a contested Wittgensteinian principle in Brandom’s work. (shrink)

This paper argues that the personal interview method is particularly appropriate for the kind of exploratory and complicated theory-building research that ethical decision-making, as a topic, represents at present. In doing so, it examines the key tasks of the ethics researcher, the suitability of interviews for obtaining the kind of data needed to accomplish these tasks, and the ensuing problems faced by the interview methodologist. It concludes with suggestions for enhancing the validity and reliability of interview-based ethics research.

Fraser is one of the most important American philosophers and one of the leading figures of contemporary critical theory. From the 1980s to the present, Fraser has published on political philosophy and social theory, reflected upon feminism, justice, and capitalism, and has participated in public debates on current issues. The interview aims at retracing the main themes of her thought, underlining the persisting link which joins her understanding of political philosophy with social critique and public engagement. The interview also emphasizes (...) the developments of her thought, starting from her formation in the American New Left, the encounter with feminism and the neo-Marxist cultural critique of capitalism, and the discussion of Habermas’s thought. Also discussed is Fraser’s complex feministic theory and her post-Westphalian and three-dimensional model of global justice. Another crucial topic is the recent elaboration of an enlarged view of capitalism, based on a combination of Karl Marx and Karl Polanyi, aimed at highlighting its structural crisis tendencies: not only economic, but also ecological, political, and social. The recent debate on the crisis of liberal democracy, the emergence of populism, the Covid-19 pandemic, as well as the Ukrainian war, become an opportunity to test how a renewed critical theory of society can develop a social diagnosis of the time, without abandoning the task of a reconstruction of the emancipatory potential present in the existing social reality. Finally, Fraser recalls her link with the Italian philosophical tradition, stressing in particular her debt to Antonio Gramsci. (shrink)

Cecilea discusses with Shelley Tremain her experience as a first-generation U.S. citizen and first-generation university graduate; why she was motivated to study philosophy and become a professional philosopher; the launching of the new, open access, online journal, the Journal of Philosophy of Emotions (JPE); the “mismatch” between what she seemed like “on paper” and what she is is capable of; how societal, institutional, professional, and philosophical practices and policies must be adjusted to enable others like her to flourish as professional (...) philosophers; and any resources—such as articles, books, and videos—that she would like to recommend on the topics and issues that she has addressed in this interview. (shrink)

Establishing common ground in police investigative interviews is essential in preventing misperceptions and miscommunications, to enable a witness’s best evidence to be collected. However eliciting a consistent account of an allegation from individuals with an Intellectual Disability (ID) is dependent on the skill of the interviewing police officer and the communicative competence of a witness with ID. Acknowledging the specialist nature of this process, the Youth Justice and Criminal Evidence Act in England and Wales allows trained intermediaries to facilitate (...) communication between vulnerable individuals in legal settings such as forensic interviews. Intermediaries i.e., communication specialists, often recruit legally permitted low technology communication aids such as line drawings to facilitate interviews. Typically, common ground is established through shared attention and talk but this article uses multimodality Conversation Analysis to analyse the manner in which common ground in intermediary-mediated police interviews is established in other ways, i.e., firstly, through recruiting and using low technology communication aids in real interviews, and secondly through the embodied physical actions associated with manipulating those aids. Line drawings are examined here, enabling the answers given by witnesses with an ID to be semantically aligned with the questions being asked by the interviewing officers, by establishing common ground. Aids are shown to bypass documented difficulties with attention and staying on topic that individuals with ID typically experience, thus enabling them to verbally provide investigation-relevant evidence. (shrink)

The continued rise of populism and authoritarianism throughout the world has witnessed an alarming attack on basic democratic freedoms and led to a divided political and social world. Few thinkers have done as much as Jürgen Habermas to understand and critique these problems, perhaps most famously through his notions of the public sphere, deliberative democracy and discourse ethics. In this fascinating book, Emilie Prattico considers the crisis of democracy from a Habermasian standpoint via engaging interviews with an outstanding line (...) up of leading philosophers and thinkers. The following key topics are unpacked and explored: Can some basic rights and liberties be given up to safeguard democracy? With Hauke Brunkhorst, How does actual deliberation confer legitimacy to democratic decisions? With Cristina Lafont, Why is "fake news" a crisis of democracy? With Michael Lynch, How can we build a public sphere together and share it in a world characterized by divisiveness and tribalism? With Barbara Fultner, Can democracy survive without the voice of experts? With Kenneth Baynes, How dangerous are the current forms of authoritarianism we are seeing take hold all over the world? With Maria Pia Lara, What does the public sphere look like with new technologies? With Gertrud Koch, What duties do we owe descendants of slaves and how do we reckon with our antidemocratic and oppressive past? With Lorenzo Simpson. Also including a Foreword by Habermas himself, this book is essential reading for anyone seeking to understand the challenges facing democracy and liberalism today. It will be of great interest to those in philosophy, sociology and politics as well as related fields such as religion and law. (shrink)

Remote interpreting via video-link is increasingly being employed in investigative interviews chiefly due to its apparent increased accessibility and efficiency. However, risks of miscommunication have been shown to be magnified in remote interpreting and empirical research specifically on video-link remote interpreting is in its infancy which greatly limits the evidence base available to inform and direct evidence-based policy and best practice, particularly in the identification of the optimal mode of interpreting to be used, namely consecutive and simultaneous. Consecutive interpreting (...) refers to a process in which the interpreter transfers short segments of speech from one language into the other as each person speaks in managed turn-taking, while simultaneous interpreting refers to the transfer of natural speech from one language into another in a concurrent manner without the need for speakers to segment their speech. This study provides novel empirical evidence by using eye tracking to compare the overt visual attention of interpreters working in a remote setting in which an English-speaking Interviewer interacts with a non-English-speaking Suspect in person, for whom interpretation is provided via video-link in real time. Using a within-subject design, we analyze eye-movement data from 28 professionally accredited interpreters who interpreted via video-link an investigative interview in which consecutive and simultaneous interpreting modes were counterbalanced. Taking interpreting performance into account, our results showed that, the consecutive mode yielded significantly less gaze time and therefore significantly less on-screen overt visual attention due to off-screen notetaking, an essential component of the consecutive interpreting mode. Relative to gaze time, the consecutive mode also resulted in significantly more and longer fixations and shifts of attention. Participants also allocated significantly more overt visual attention to the Interviewer than the Suspect, particularly in the consecutive mode. Furthermore, we found informative significant correlations between eye tracking measures and interpreting performance: accuracy, verbal rapport, and management. Finally, we found no significant differences between the three language pairs tested. We conclude with a discussion of limitations and the contributions of the study and an outline for future work on this topic of growing importance. (shrink)

On the 24th June 2015, Feminist Legal Studies and the London School of Economics Law Department hosted an afternoon event with Professor Wendy Brown, Class of 1936 First Professor of Political Science, University of California. Professor Brown kindly agreed to discuss her scholarship on feminist theory, and its relationship to both the law and neoliberalism. The event included an interview by Dr Katie Cruz and a Q&A session, which are presented here in an edited version of the transcript. Sumi Madhock, (...) Professor of Gender Studies, LSE chaired the interview and discussion and introduced Professor Brown’s work. Katie Cruz asked Wendy Brown to reflect upon topics that span her scholarship and activism, including the state of critical, feminist, and Left approaches to rights, neoliberalism, despair and utopianism, and the future of feminist theory and practice in the context of neoliberalism and current debates about intersectionality. Participants in the discussion asked questions on a wide range of issues, including the limits of feminist engagement with law as a tool for social change, the dominance of neoliberalism, imperialist feminism, Islamophobia, secularism, and our attachment to the figure of homo politicus. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In this interview, Christopher Norris discusses a wide range of issues having to do with postmodernism, deconstruction and other controversial topics of debate within present–day philosophy and critical theory. More specifically he challenges the view of deconstruction as just another offshoot of the broader postmodernist trend in cultural studies and the social sciences. Norris puts the case for deconstruction as continuing the ‘unfinished project of modernity’ and—in particular—for Derrida’s work as sustaining the values of enlightened critical reason in various spheres (...) of thought from epistemology to ethics, sociology and politics. Along the way he addresses a number of questions that have lately been raised with particular urgency for teachers and educationalists, among them the revival of creationist doctrine and the idea of scientific knowledge as a social, cultural, or discursive construct. In this context he addresses the ‘science wars’ or the debate between those who uphold the values of scientific reason, progress and truth, and those (like the ‘strong’ sociologists of knowledge) who would reject such values as merely the expression of a dominant ideological consensus. Norris also discusses the emergence of anti–realism as a strongly marked trend within recent analytic philosophy, one that denies the existence of objective (‘recognition–transcendent’) truths in mathematics, the physical sciences, history and other disciplines. Thus statements are thought of as possessing a truth–value just insofar as we possess some adequate proof–procedure or some means of finding them out through empirical or other methods of enquiry. Norris offers a range of arguments against this anti–realist position and brings out its convergence with various postmodernist lines of thought. Through a running commentary on Derrida’s work in relation to these developments he shows how deconstruction has been misconstrued by sociologists, cultural critics and educational theorists whose understanding has often been based on a limited acquaintance with the primary texts. Above all Norris calls for a renewed engagement with the philosophic discourse of modernity and a willingness to challenge postmodern scepticism and value–relativism in a spirit of open–minded critical debate. (shrink)

BackgroundHospitalized older adults frequently have impaired cognition and must rely on surrogates to make major medical decisions. Ethical standards for surrogate decision making are well delineated, but little is known about what factors surrogates actually consider when making decisions.ObjectivesTo determine factors surrogate decision makers consider when making major medical decisions for hospitalized older adults, and whether or not they adhere to established ethical standards.DesignSemi-structured interview study of the experience and process of decision making.SettingA public safety-net hospital and a tertiary referral (...) hospital in a large city in the Midwest United States.ParticipantsThe study included 35 surrogates with a recent decision-making experience for an inpatient aged 65 or older.MeasurementsThe key factors that surrogates considered when making decisions. Interview transcripts were coded and analyzed using the grounded theory method of qualitative analysis.ResultsSurrogates considered patient-centered factors and surrogate-centered factors. Patient-centered factors included: respecting the patient’s input, using past knowledge of the patient to infer the patient’s wishes, and consider ing what is in the patient’s best interests. Some surrogates expressed a desire for more information about the patient’s prior wishes. Surrogate-centered factors included: surrogate’s wishes as a guide, surrogate’s religious beliefs and/or spirituality, surrogate’s interests, and family consensus.ConclusionOur study indicates that surrogate decision making is more complex than the standard ethical models, which are limited to considerations of the patient’s autonomy and beneficence. Because surrogates also imagine what they would want under the circumstances and consider their own needs and preferences, models of surrogate decision making must account for these additional considerations. Surrogates’ desire for more information about patients’ preferences suggests a need for greater advance care planning. (shrink)