This article summarizes a virtual live‐streamed panel event that occurred in August 2020 and was cosponsored by the International Philosophy of Nursing Society (IPONS) and the University of California, Irvine's Center for Nursing Philosophy. The event consisted of a series of three self‐contained panel discussions focusing on the past, present and future of IPONS and was moderated by the current Chair of IPONS, Catherine Green. The first panel discussion explored the history of IPONS and the journal Nursing Philosophy. The second (...) panel involved a reflection on the challenges of doing nursing philosophy in a research‐intensive context of a Canadian university and the history and current movements in nursing philosophy in the Nordic countries. The final panel involved presentations on the future potential for philosophy in/and for nursing, the critical connections between nursing philosophy and nursing theory, dismantling racism in nursing and the potential for process philosophy to help explore nursing's unique efficacy in creating possibilities for health. The panels were followed by a lively Q&A session with participants, of which there were 252 registrants from across the globe. The event underscored the wide and diverse interests of nurses in philosophical discussion and the need for more virtual events and other connective modalities bringing nurses together to discuss and analyze the value and potential of philosophy to better understand and advance nursing theory and practice. (shrink)

This is the first English scholarly edition of this pivotal essay, accompanied by the first comprehensive commentary on it.

The work of Simone Weil and Simone de Beauvoir is compared along various lines of analysis. Simone Weil's Gravity and Grace is examined, and her penchant for the use of the concept of the void as a point of departure for metaphysical speculation, while Simone de Beauvoir's work Old Age is analyzed, with a view toward setting out her use of the Sartrean concept of project. A brief comparison of the work of Weil and Kierkegaard is made, and some (...) reference is given to sections of Simone de Beauvoir's Second Sex. It is concluded that, from a similar point of departure, the thinkers move in different directions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Education and Feminist AestheticsGauguin and the ExoticJane Duran (bio)IntroductionMuch has been made of the way in which Gauguin came to characterize the differences that he saw between the French and Tahitian populations once he had embarked on the series of voyages for which he is now celebrated.1 Although there is evidence to support a number of interpretations with respect to his portrayals of women, one theme has been paramount (...) in a great deal of the commentary: Gauguin came to see the women of Tahiti as not only emblematic of the island itself, and the island's culture, but as the embodiments of a certain sort of feminine grace. The contrasts that Gauguin himself invoked between the "naturalness" of the Polynesian women and what he took to be the falsity of women of his own class in Europe, especially France, has been the subject of much writing. In our attempts to educate undergraduates with respect to categories of oppression, we can appeal to the work of Gauguin as a valuable source of understanding concerning these issues.Given the Eurocentrism of the time, and given that it is roughly this same time period that Said will later go on to associate with the rise of Orientalism, it is probably not possible that Tahiti, its women, and its various flora and fauna could have been seen as anything other than vestiges of the natural in a world already too tamed. Words such as "savage" are used frequently in the criticism of the day to explain Gauguin's subjects, and some of the themes of his work seem to have been chosen specifically because they lent themselves to such an interpretation, at least in European eyes.2 But Gauguin goes a bit further than this crude caricature indicates, at least insofar as his portraits of female figures are concerned. It is clear that, for the [End Page 88] artist, they represent all that is to him unknown about Tahiti, and that at the same time they are coded as the natural, the innocent, and even the holy. An examination of some of his works will bear out the extent to which this is the case.IRegarding Gauguin's attitudes toward Tahiti and its women, Britt Salvesen has noted in recent commentary thatGauguin infused his art with mystery, often by depicting enigmatic female figures, traditional symbols of nature and its secrets. In Tahiti he expected to encounter exotic and sensual women. Given Gauguin's complicated position as both observer and participant in Tahitian society, his ambition to represent the "country's female type" bears close examination. He owned illustrated travel books in which, as he noted scornfully, "all the [natives] … look like Minerva or Pallas Athena." He aimed to disrupt this conventional projection of European ideals and fantasies onto Tahitian women.3As Salvesen indicates, Gauguin expected to find, and did find—by his lights—"exotic" and "sensual" women. Feminist analysis has provided us with an overwhelming amount of material about the extent to which such projections onto women as a group become a near universal human cultural trope, but few individuals allow us to make such strong comparisons with respect to projections on differing female figures as Gauguin does. That he is able to discern the ridiculousness of Academy art with its emphasis on "Pallas Athena" is obvious; what he chooses to do himself is something else again.Inaugurating a variety of personal relationships with women and girls as young as thirteen years of age,4 Gauguin developed a view of the Tahitian woman as emblematic simultaneously of the culture, of a certain sort of innocence, and of a virtually transcendental sacredness. That these images might be thought, naively, to have little to do with sensuality reflects the degree to which we fail to understand that for Gauguin, as for others after him, the sensual itself was sacred. Salvesen notes that one of the early relationships was with the "thirteen-year-old Tehamana. … [o]f Polynesian origin, [in]experienced, and of a seemingly 'impenetrable' character, Tehamana offered Gauguin the mysterious experience he sought in life and art."5If Tehamana represents one take on woman-as-elementally... (shrink)

For the students, while the numbers are up,… the problem that minorities face – and it is persistent – is that there is still too much of a patronizing air in the professional schools. And there's still too much of the notion that if you're here it must be because someone gave you a break and you're different and you really don't belong here. And indeed when my son went off to school four years ago… I really wanted to warn (...) him about the atmosphere that you see on all too many campuses, diat if you're black and walking on campus, that all too many people look at you and say, “You must be an affirmative action product,” whatever that means to them. “You're here only at our good grace.” And no one's looking at the individual. Thinking about it in retrospect, I guess, in some ways I enjoyed an advantage in being [the only black in my law school class]. It was a terrible disadvantage in a lot of ways, but, because I was the only black, the one thing I never faced was anyone ever challenging my intellectual capability. The way they brought this off was to say, “Well, you're different. You're black but you're not really black.” I think it's a lot worse now…. Professional schools are hard enough as it is, and to constantly have the pressure of what others are thinking about you and wondering whether you really belong, that really is a difficult burden. (shrink)

This study juxtaposes Simone Weil's exposition of God's invitation to know and love the good through the divine signature of beauty stamped on the order of the world and Flannery O'Connor's depiction of a society whose oppressive order allows some characters to oppose outright a divine order or to live under the illusion that the divine invitation is irrelevant because they, in their egoism and materialist values, are the centre of the universe. An examination of O'Connor's and Weil's ideas on (...) order and beauty, grace and decreation, within the disorders of their contexts, reveals both writers' skills in pointing prophetically through disorder to divine order, thus, disclosing bridges of revelation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Efficacious Grace and Free Will:Six Inadequate ArgumentsSteven J. JensenDuring the de auxiliis controversies, the idea of efficacious grace was used extensively as an attempt to explain the manner in which God infallibly achieves his will at the level of supernatural grace. One meaning of efficacious grace has often been considered inconsistent with the idea of free will. The inconsistency—if there is any—depends upon a particular (...) meaning, according to which efficacious grace has three important characteristics: it is an infallible physical pre-motion. (1) Efficacious grace is "physical" because it moves after the manner of an efficient cause rather than after the manner of a final cause (which would be called a "moral" motion).1 (2) The motion is prior (or a pre-motion) because it causally precedes the act of the will to which it gives rise. Finally, (3) the motion is infallible because that toward which it moves the will in every case must be achieved.Suppose, for instance, that God gives Jerry an efficacious grace to help Jane, who is in need. The grace is not merely the enticement of some good (a moral movement), but is the movement of an efficient cause, after the manner by which fire heats water. Furthermore, the grace is efficacious prior to Jerry's actual choice and does not depend upon his will for its efficacy. Finally, once Jerry is moved by this grace, he will of necessity (or infallibly) choose to help Jane.In what follows, references to efficacious grace will refer to this particular [End Page 115] understanding, with these three characteristics. Other conceptions of efficacious grace, such as that given by Jacques Maritain, are not relevant to this paper.2The combination of these three characteristics is sometimes thought to be inconsistent with a particular understanding of free will, according to which the will is the only created cause that determines itself to its final action. Since efficacious grace is a created cause (and not the divine will), since it is an efficient cause, since it is causally antecedent to the final act of the will, and since it determines the will to act, it is inconsistent with free will. Or so the argument goes, at any rate. Whatever the details of this argument, most people will concede that there is, at the very least, an intuitive inconsistency between free will and efficacious grace. To be moved infallibly by an efficient cause seems incompatible with the movement of the will, the agency of which is free, and which therefore is not moved determinately to some effect.3Those who wish to defend efficacious grace have advanced a contrary claim—that efficacious grace is consistent with human free will—which might be called the Consistency Thesis. Apparent inconsistencies are nothing more than apparent. In defense of the Consistency Thesis, a multiplicity of Thomistic arguments are offered by authors such as Reginald Garrigou-Lagrange, Steven Long, and Taylor O'Neill.This paper is concerned to show neither the truth nor the falsity of the Consistency Thesis. Rather, it considers six of the arguments defending the thesis and finds all of them wanting. Whatever their merits for other purposes (and often their merits are great), these arguments are inadequate to the task of defending the Consistency Thesis. They are often not bad arguments; they are simply insufficient. They are not enough to show a consistency between efficacious grace and free will. This goal, although modest, is significant, for when confronted with the six arguments readers can be left with the impression that the question is settled. [End Page 116]The Problem ClarifiedThe enemies of efficacious grace suggest the following implication: if the will is moved to act by an infallible physical pre-motion, then the will is determined. The Consistency Thesis may be defended by denying the implication. Even when moved by an infallible physical pre-motion such as efficacious grace (so the defense will argue), the will can remain undetermined. All the arguments discussed below (if they are indeed arguments in defense of the Consistency Thesis) take this approach, although the fourth argument does so only in a very indirect manner.The first argument claims... (shrink)

Jane Addams, Florence Kelley, and second-generation Hull House activist Grace Abbott were at the forefront of a reconstruction of early twentieth-century American democracy. They worked to reframe U.S. political democracy, expanding its focus beyond individual rights to caring for the social community. The movement away from laissez-faire government toward state and federal legislation protecting children, women, and workers was often halting, sometimes stymied by public opposition, and other times blocked by Supreme Court decisions. Grace Abbott’s social and (...) political philosophy demonstrated her training in law and political science and was influenced by her direct engagement with her Hull House neighbors. Abbott was a skilled social science researcher who saw public research as a way of crossing and blurring epistemological class boundaries, creating pathways for the general population to understand the burdens others faced. Through her leadership of the Immigrants’ Protective League and the Children’s Bureau, Abbott argued that the democratic state should be responsible for extending legislative protections into the social and industrial realms to protect vulnerable and dependent populations. Her work was essential to the continuing evolving supportive structures of governmental programs and social safety nets that are taken for granted by many Americans today. (shrink)

Sophie Grace Chappell develops a picture of what philosophical ethics can be like, once set aside from the idealising and reductive pressures of conventional moral theory. Her question is 'How are we to know what to do?', and the answer she defends is 'By developing our moral imaginations'.

In lieu of an abstract, here is a brief excerpt of the content:Mensonge MélodramatiqueTriangular Desire in Sense and SensibilityMatthew Taylor (bio)The Passions are perfectly unknown to her; she rejects even a speaking acquaintance with that stormy Sisterhood; even to the Feelings she vouchsafes no more than an occasional graceful but distant recognition; too frequent converse with them would ruffle the smooth elegance of her progress. Her business is not half so much with the human heart as with the human eyes, (...) mouth, hands and feet; what sees keenly, speaks aptly, moves flexibly, it suits her to study, but what throbs fast and full, though hidden, what the blood rushes through, what is the unseen seat of Life and the sentient target of Death—this Miss Austen ignores.—Charlotte Brontë1"Oh! mama, how spiritless, how tame was Edward's manner in reading to us last night! I felt for my sister most severely. Yet she bore it with so much composure, she seemed scarcely to notice it. I could hardly keep my seat. To hear those beautiful lines which have frequently almost driven me wild, pronounced with such impenetrable calmness, such dreadful indifference!" [End Page 189]—Marianne in Sense and Sensibility2Charlotte Brontë had probably not read Sense and Sensibility (SS) before making her famous indictment of Jane Austen above, otherwise she would have found herself prophetically, and mercilessly, parodied through the character of Marianne Dashwood.3 Marianne's critique of Edward above matches Brontë's denunciation with uncanny precision. Marianne, the "stormy sister" of the novel, carries on in the same vein through most of it. What she proclaims as passionate sensibility comes off instead as, at varying times, snooty, self-indulgent, exhibitionist, and histrionic. Marianne even assumes the role of Brontë's "sentient target of Death" not long after she is cruelly jilted by Willoughby, when she wanders listlessly outdoors in the damp. It is not unlike Jane Eyre's numb wanderings when she flees Thornfield and Rochester. This "acting out" by Marianne comes close to killing her.Marianne's romantic "sensibility" contrasts with her sister Elinor's "sense." Yet, of course, readers of SS will come to know that Elinor can feel just as deeply and passionately as Marianne; she just has to conceal it. Elinor can suffer as much, too, only without the luxury of wearing it on dew-drenched sleeves. Thus, we have the thematic frame of the novel, suggested in the title. As Austen's first published novel, SS is brilliant, mature, and confident. One weakness seems to be a Brontëan one, the melodramatic coincidence in the plot that connects Colonel Brandon's secret life of compassion to Willoughby's secret sins. Otherwise, SS sits very well alongside Austen's other five masterpieces.4From the perspective of René Girard's mimetic theory, mimesis comes out with a bang in SS.5 Not only is Marianne a principal character in Austen's first canonical novel, but her romantic sensibility is thematized in the title.6 "Sensibility" for Marianne is feeling, unmediated desire expressed in unrestrained language and impulsive action. Yet Marianne's actions are anything but unmediated, and they are compulsive rather than impulsive. Even when she finally overcomes the worst symptoms under the influence of Elinor, and even though we do develop genuine sympathy for her, Marianne never comes to any deep self-knowledge. Marianne perfectly encapsulates Girard's mensonge romantique, or "romantic lie."Implying that Marianne is a liar is not a comfortable stance, and not just because we may be fond of her, but because she is open and sincere—to a fault. Yet just because Marianne is honest about her feelings, it does not follow that she is accurate about them. In fact, this is often a problem in interpreting Marianne: Her self-characterization is accepted uncritically.7 From that basis, she is framed, somewhat understandably, as representing one side of a moral debate about sensibility.8 Austen is seen as being for it, or against it, or working out some sort of accommodation. Austen is further assessed as having done [End Page 190] so well, or badly, or indifferently, as the case may be. Then Austen is seen as conforming to cultural standards, or challenging... (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a (...) bandit, a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

The trajectory of the “Anthropology” section of Hegel’s Encyclopedia brings us from the uncultivated, natural soul which humans share with non-human animals, to the point where it becomes an individual subject, ready to become the “I” of the “Phenomenology” section. Much of this entails the transformation of the body from something purely determined by nature to being a home for spirit as it freely relates itself to the world. The “Anthropology” thus dwells on the theme of liberation from nature. Especially (...) in the Zusätze and in the 1827/8 Lectures on the Philosophy of Spirit, Hegel notes that that cultivation is associated with minimizing the effects of natural determinations on one’s body. Insofar as nature is associated with particularity and reason with universality, it may seem as though idiosyncratic embodiments are incompatible with the kind of mastery of the body Hegel envisions. At the same time, given that the focus of the “Anthropology” is on the development of the soul rather than the matter of the body itself, there may be a range of compatible bodily possibilities. This raises the question of how much the body and its comportment ought to correspond to an ideal, and what the implications may be for those humans whose embodiment marks them out (in Hegel’s system) as closer to nature. Are there limitations to embodiments that may be appropriated and claimed as my own? Since coming to own our natural determinations is an ongoing process throughout a lifetime, despite the location of the “Anthropology” in the Encyclopedia, it is important to consider the role of our free decision-making in the transformation of our body. Attending to the story of the body within the “Anthropology” helps us to appreciate it more fully as a crucial link between the Philosophy of Nature and the rest of the Philosophy of Spirit. (shrink)

Many recent studies have appealed to the idea that linguistic systems are subject to economy of structure or representation, e.g. Chomsky 1995, Rizzi 1997, Bresnan 2001. The guiding idea of economy of structure is that small structures are preferred over large ones, other things being equal. Other things being equal, projections with fewer elements are preferred over projections with more elements, and structures containing fewer projections are preferred over structures with more projections.

Western metaphysics has been distorted by Aristotle's misconception of essence and (il)logic of male homophobia. Via its inscription of female bodies, this muddled metaphysics is causing a fragmentation of self that is currently leading to eating disorders. A spirogenetic model of essence and subjectivity may solve our metaphysical and thus mental ills.

"Multiverse" cosmologies imagine our universe as just one of a vast number of others. While this idea has captivated philosophy, religion, and literature for millennia, it is now being considered as a scientific hypothesis--with different models emerging from cosmology, quantum mechanics, and string theory. Beginning with ancient Atomist and Stoic philosophies, Mary-Jane Rubenstein links contemporary models of the multiverse to their forerunners and explores the reasons for their recent appearance. One concerns the so-called fine-tuning of the universe: nature's constants (...) are so delicately calibrated that it seems they have been set just right to allow life to emerge. For some thinkers, these "fine-tunings" are evidence of the existence of God; for others, however, and for most physicists, "God" is an insufficient scientific explanation. Hence the allure of the multiverse: if all possible worlds exist somewhere, then like monkeys hammering out Shakespeare, one universe is bound to be suitable for life. Of course, this hypothesis replaces God with an equally baffling article of faith: the existence of universes beyond, before, or after our own, eternally generated yet forever inaccessible to observation or experiment. In their very efforts to sidestep metaphysics, theoretical physicists propose multiverse scenarios that collide with it and even produce counter-theological narratives. Far from invalidating multiverse hypotheses, Rubenstein argues, this interdisciplinary collision actually secures their scientific viability. We may therefore be witnessing a radical reconfiguration of physics, philosophy, and religion in the modern turn to the multiverse. (shrink)

The environmental crisis—because of its complexity, urgency, unpredictability, and scale—requires a defence of the educational role of philosophy and an account of how to implement philosophical pedagogy in the exploration of environmental issues. This is the aim of this paper. As we face an uncertain future, all educators must consider what knowledge and “know-how” young people need, and what kind of people they need to become, if they are to survive and thrive in this changing world. Philosophical educators cannot assume (...) the ongoing utility of their practice, nor can they expect that their practice should remain the same. In the context of the current crisis, the philosophical exploration of emerging environmental issues raises challenges for those who work in the spirit of Community of Enquiry and these challenges require both discipline and flexibility from practitioners and participants. This paper outlines some of the adaptations that I have used to try and respond flexibly to this predicament. But I also defend an issue on which I believe philosophical educators should hold the line—namely the importance of being non-directive on matters that are philosophically contentious. I defend the view that despite the existential nature of this emergency and its profound urgency, it is not the role of philosophical educators to convince or coerce philosophical learners to adopt particular views on the philosophical questions that this crisis raises. This is because all philosophical enquiry involves creating an environment of freedom and responsibility with respect to what participants believe to be right and true and what they do as a result. Participants in enquiry must be epistemically free to explore and evaluate philosophical questions as they see fit, but they must also be epistemically responsible for the evidence and arguments on which their provisional judgements rest. Equally, participants in enquiry must be ethically free to respond to philosophical problems in ways that express and cultivate their authentic character and commitments, but they remain ethically responsible for their true motivations, their professed values and for the real-life consequences of their words and actions, and their silences and inaction. This paper explores some ways to optimise freedom and responsibility in all forms of philosophical enquiry, drawing specifically on examples of my work with young people on philosophically contentious environmental issues. These examples also highlight some of the adaptations that I have developed to address the challenges that environmental enquiry brings. (shrink)

There is a long-standing discussion on the positive interactions between enterprise value creation and business competitiveness. The corporate value can be seen as being created from three major sources within the cycle - from employees, from processes, and from customers or investors through reinvestment. To achieve competitive advantages, a firm must create more value than its competitors in the industry. Emphasizing that, firms should explore the positive drivers of customer value creation, allowing for a true value creation that will lead (...) to increments in competitiveness. In reality, however, there are also barriers that hinder customer value creation. Targeting the above issues that have not yet been explored or analyzed, we have collected related literature at the first stage. Based on these presumable assumptions, this paper then conducts an empirical study by surveying and analyzing the relevance given by the investigated leading machinery measuring equipment firms in Taiwan, regarding the concerns as drivers and barriers in relation to customer value creation. This paper expecially aims to answer several key questions: What drivers revolving around employees and processes can facilitate the organization to create more value for its customers? Conversely, what barriers block the organization from creating value for customers in examining the same dimensions? Does value creation direct an organization's profitability and competitiveness? Our questionnaire survey results show that the most recognized and agreed drivers of customer value creation in consideration of employees are "distinctive skills", "personal experience", "learning and training", and "team work"; and, in regard to the firm's processes, the key drivers are "innovation and evolution", "R&D capability", and "capability for differentiation". Conversely, the most recognized and agreed barriers to customer value creation in relation to employees are a "distrustful environment" and "inadequate knowledge"; and, in terms of processes, they are "short of core technology", "poor resource support", and "bad services and attitudes". Furthermore, our in-depth interview outcomes reveal that "capital sufficiency" and "mergers and acquisitions" are in practice considered to be other important customer value creation drivers; in contrast, "cultural and structural barriers" and "short of mechanisms to measure customer value creation effectively" are viewed as additional critical barriers to customer value creation. (shrink)

We explore contested meanings around care and relationality through the under-explored case of caring after death, throwing the relational significance of ‘bodies’ into sharp relief. While the dominant social imaginary and forms of knowledge production in many affluent western societies take death to signify an absolute loss of the other in the demise of their physical body, important implications follow from recognising that embodied relational experience can continue after death. Drawing on a model of embodied relational care encompassing a ‘me’, (...) a ‘you’ and an ‘us’, we argue that after death ‘me’ and ‘us’ remain (though changed) while crucial dimensions of ‘you’ persist too. In unravelling the binary divide between living and dead bodies, other related dichotomies of mind/body, self/other, internal/external, and nature/social are also called into question, extending debates concerning relationality and openness between living bodies. Through an exploration of autobiographical accounts and empirical research, we argue that embodied relationality expresses how connectedness is lived out after death in material practices and felt experiences. (shrink)

This article does not intend to actually valuate intangible assets but focuses to investigate the relative value distribution of corporate intangible assets, and this links closely to the concept and application of value drivers. This is because we believe that drivers or attributes of the value significantly determine how the virtual value of these intangibles can be created for companies. We apply the analytic hierarchy process (AHP) to the appraising process of intangible assets. The AHP method can mainly sort the (...) non-financial value drivers in order according to their weighted contributions. Therefore, the key purpose of this article is to develop a tentative model for the evaluation of intangible assets, which helps business to correctly appraise corporate value ratios and avoid bias due to mainly relying on financial statements when measuring an entity’s value. In addition, in view of the significant proportion of intangible assets over total assets in high-technology industries, this research, then, uses six industries in Hsinchu Science Park, Taiwan, as its research objects in order to test the applicability of its model, as well as exploring the value weights of intangible assets and its evaluation among different technology industries. Besides, the empirical result of this article is mainly to support business appraisal and thus improves the effectiveness of value-based management. (shrink)

That abortion is the unjust killing of an innocent human person is the contention of the authors of this book. It does not intend to be a comprehensive defence of a pro-life position; rather, it ad...

In the selections that follow, Grace Neal Dolson offers a critical reading of experience, intuition, and duration in Bergson’s thought.

The $120 millwn libel suit brought by General William Westmoreland against CBS has been the focus of considerable press and public attention. It was Westmurelad's claim that the CBS broadcast, "The Uncountd Enemy: A Vietnam Deception, contained intentional distortions of fact. CBS stood firmly behind the broadcast, although conceding journalistic flaws. During the trial the procedures followed when making the documentary were closely scrutinized and the nature of teleuision journalistic practice was called into question. The ethical implications of the Westmoreland (...) v. CBS controversy are discussed in this article. (shrink)

American suffrage history is dominated by white suffragettes; however, this essay aims to bring to light another vibrant dimension of the American women’s suffrage movement. Mabel Ping-Hua Lee turned tides when she marched horseback at a women’s suffrage parade at the age of sixteen, and further entrenched herself as a prominent Asian-American suffragette as she continued to fight for women’s suffrage throughout her lifetime, although the Chinese Exclusion Act of 1882 barred her and all Chinese people from voting or obtaining (...) citizenship until the act was repealed in 1943. This article explores many dimensions of Mabel through several of her primary environmental and personal influences, from Guangzhou, China to New York City’s Chinatown, which all shaped her into an admirable, and selfless social justice advocate that claims an unforgettable chapter in American and Asian-American political history. (shrink)

Previous study has asserted that education majors score lower on assessments of moral development than do other majors. However, important factors associated with moral development have been overlooked. This study investigated the degree to which moral developmental differences exist by accounting for some of the oversights observed in previous study. Samples of 51, 38, and 62 college students in education, psychology, and other majors were addressed in terms of their moral judgment development, moral sensitivity, nonprejudice, and attitudes about human rights (...) and civil liberties. Although some minor trends are seen in favor of psychology majors, results support that moral developmental differences are not as dire as previous study portends. The authors recommend efforts to account for the individual, academic, and extracurricular experiences associated with majors and universities so that continued understanding of the moral development and functioning of their students can occur. (shrink)