En France, l'épistémologie de la médecine est facilement réduite à l'étude du magistral essai de Canguilhem, Le normal et le pathologique. Toutefois, ce livre publié il y a plus de soixante-dix ans ne reflète plus l'état des sciences médicales contemporaines, ni celui des débats poursuivis par les philosophes des sciences depuis. Le présent livre, premier du genre en langue française, a pour ambition d'introduire le lecteur à la philosophie des sciences médicales. Ses dix chapitres initieront le lecteur aux débats qui (...) l'agitent, sans que soient requises des connaissances philosophiques ou médicales préalables. Il répond à la fois à la demande de médecins en quête d'une philosophie qui leur parle de leur discipline et de leurs pratiques, et de philosophes à la recherche d'un guide dans ce champ morcelé et dominé par la philosophie d'expression anglaise. [Payot]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.1 (2002) 1-34 [Access article in PDF] Ninagawa's Production of Euripides' Medea Mae Smethurst [Figures]The Japanese theater director Yukio Ninagawa, known for expressing his opposition to repressive politics in his productions during the 1960s, claimed that he staged the Medea because he wanted Japanese women to know that they could be as strong, as straightforward, as the character Medea. Japan, which has been the largest (...) consumer of his Medea, was and still is a male-dominated society. According to Ninagawa, it is a country in which for a woman to be demure and weak is considered a virtue. 1 And yet, if you look closely at Euripides' Medea you might conclude that Medea, although strong, is not an ideal role model for women. 2 (This was the view of Leda Geh of the Singapore Sunday Star, who reviewed Ninagawa's production in 1992.)Ninagawa's Medea was enormously successful. It ran for more than 250 performances in Japan, in other parts of Asia, and in the West, even though all the performances were in the Japanese language. Between the first productions of the Medea in 1978 and the latest in 1999, Ninagawa played to oversold, sold-out, or virtually sold-out houses in Tokyo, Osaka, and Nagoya, as well as in smaller cities throughout Japan. 3 The 1993 [End Page 1] production in Tokyo had a three-night run, in a theater with a capacity of eight hundred seats, which was on average 84 percent filled. 4 During a second tour to Athens in 1984, over a two-night run at the Herodes Atticus Theater (which has a capacity of six thousand people), fourteen thousand attended the performances. According to the producer Tadao Nakane (whom I interviewed in Tokyo on 15 March 1999), the audiences, including those sitting on the sides of the Acropolis, applauded so long and hard that tears came to his eyes. 5 In London, in 1978, Tokusaburo Arashi's performance of Medea brought him a nomination for an Olivier award 6 and, in the fall of 1999, Ninagawa served as the first non-English-speaking foreign director of the Royal Shakespeare Company's production of King Lear. Given these and other successes, it is clear that Ninagawa was able to bridge the gap between the West and East, on the one hand, by appealing to Western audiences with his Japanese productions and, on the other, by bringing a Western play to Japanese and other audiences.In this article I will consider how Ninagawa was able to take this ancient Greek tragedy and make it popular, not only with other Asian or non-Japanese audiences but also with those in Japan. He based his Medea on the poet Mutsuo Takahashi's 7 line-by-line adaptation of Euripides' [End Page 2] Medea. Not all of Takahashi's lines are used in each production; however, Ninagawa's productions of Medea, like his production of Oedipus the King, do adhere to the words of the text much more closely and fully than do Tadashi Suzuki's Bacchae or Trojan Women. Ninagawa infused his productions of the Medea with a very strong Japanese presence, consisting of elements drawn from Japan past and present. And it is these elements that I believe have helped ensure his success with Japanese audiences who (like us) bring their own cultural baggage to the theater.To demonstrate the Japanese content of the productions, I draw on a live performance of the Medea that I saw in Tokyo in 1993 and on my translations from the Japanese of both Takahashi's adaptation of Euripides' text and Tange Kazuhiko's translation from the ancient Greek. 8 I also draw on programs, playbills, the published notes of Ninagawa, and videotapes of productions. I hope to show how Ninagawa infused the Greek tragedy with a Japanese presence in the Tokyo production of 1993 and to note how that production differed from the version of his Medea performed in Athens in 1984. I place the Tokyo performance within its cultural context by pointing out the Japanese elements... (shrink)

"Richard Linklater's trilogy of critically-acclaimed 'Before' films - Before Sunrise, Before Sunset and Before Midnight - depict the ongoing relationship and romantic destiny of two characters played by Julie Delpy and Ethan Hawke. This collection of specially commissioned chapters explores the many philosophical issues raised in the films, including: the nature of love, romanticism and marriage the meaning of life the passage and experience of time the narrative self gender death. Including an introduction by the editors summarising the trilogy, and (...) an interview with Julie Delpy in which she discusses the key themes of the films and the importance of studying philosophy, The Philosophy of Richard Linklater's Before Trilogy is essential reading for students of philosophy, aesthetics and film studies, and also of interest to those in closely related subjects such as literature and gender studies"--. (shrink)

A sustainable system has all the essential characteristics of an organism?an irreducible whole that develops, maintains and reproduces, or renews, itself by mobilizing material and energy captured from the environment. What is the nature of the material and energy mobilization that makes an organism? I begin with a brief description of a tentative theory of the organism?developed in detail elsewhere (Ho, 1993; 1994a; 1995a,b; 1996b,c)?as a dynamically and energetically closed domain of cyclic non?dissipative processes coupled to irreversible dissipative processes, which (...) effectively frees the organism from thermodynamic constraints so that it is poised for rapid, specific intercommunication, enabling it to function as a coherent whole. I shall then show how this novel theoretical framework may begin to provide normative criteria for sustainable economic systems, thereby also exposing some of the inadequacies of current models and assumptions. (shrink)

Numerous philosophers have tried to define modesty, but none of them succeeds in articulating the necessary and sufficient conditions for this virtue. Moreover, all existing accounts ignore the striking self-other asymmetry that is at the heart of modesty. Drawing on the analogy with the practice of giving presents, I clarify and further investigate this self-other asymmetry. In the process, I show why Bernard Williams is right in pointing out the notorious truth that a modest person does not act under the (...) title of modesty and why Alan Bennett is wrong in supposing that all modesty is false modesty. (shrink)

New materialism is one of the most important emerging trends in the humanities and social sciences, but it is also one of the least understood. This is because, as a term of ongoing contest...

According to Bergson , the traditional problem of free will is misconceived and arises from a mismatch between the quality of authentic, subjective experience and its description in language, in particular, the language of the mechanistic science of psychology. Contemporary western scientific concepts of the organism, on the other hand, are leading us beyond conventional thermodynamics as well as quantum theory and offering rigorous insights which reaffirm and extend our intuitive, poetic, and even romantic notions of spontaneity and free will. (...) I shall describe some new views of the organism arising from new findings in biology, in order to show how, in freeing itself from the ‘laws’ of physics, from mechanical determinism and mechanistic control, the organism becomes a sentient, coherent being that is free, from moment to moment, to explore and create its possible futures. (shrink)

The aim of what I propose to call “existential aesthetics” is to investigate the various ways in which art and certain kinds of aesthetic practice or aesthetic experience can be of existential importance to people. Section I provides a definition of existential aesthetics, while Section II delineates this emerging field from cognate areas of research. Sections III and IV explore various subcategories and examples of existential aesthetics. Section V seeks to identify important avenues for future research and Section VI presents (...) some concluding thoughts about the potential of existential aesthetics and why philosophers should be encouraged to fulfill this potential. (shrink)

Jerrold Levinson conveniently summarizes the main argument of his essay "Erotic Art and Pornographic Pictures" in the following way:Erotic art consists of images centrally aimed at a certain sort of reception R1.Pornography consists of images centrally aimed at a certain sort of reception R2.R1 essentially involves attention to form/vehicle/medium/manner, and so entails treating images as in part opaque.R2 essentially excludes attention to form/vehicle/medium/manner, and so entails treating images as wholly transparent.R1 and R2 are incompatible.Hence, nothing can be both erotic art (...) and pornography; or at the least, nothing can be coherently projected as both erotic art and pornography.1I have argued elsewhere .. (shrink)

A key question has been underexplored in the literature on conscientious objection: if a physician is required to perform ‘medical activities,’ what is a medical activity? This paper explores the question by employing a teleological evaluation of medicine and examining the analogy of military conscripts, commonly cited in the conscientious objection debate. It argues that physicians (and other healthcare professionals) can only be expected to perform and support medical acts – acts directed towards their patients’ health. That is, physicians cannot (...) be forced to provide or support services that are not medical in nature, even if such activities support other socially desirable pursuits. This does not necessarily mean that medical professionals cannot or should not provide non-medical services, but only that they are under no obligation to provide them. (shrink)

Conscientious Objection (CO) has become a highly contested topic in the bioethics literature and public policy. However, when CO is discussed, it is almost universally referred to as a single entity. Reality reveals a more nuanced picture. Healthcare professionals may object to a given action on numerous grounds. They may oppose an action because of its ends, its means, or because of factors that lay outside of both ends and means. Our paper develops a taxonomy of CO, which makes it (...) possible to describe the refusals of healthcare professional with greater finesse. The application of this development will potentially allow for greater subtlety in public policy and academic discussions – some species of CO could be permitted while others could be prohibited. (shrink)

Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography and art are fundamentally incompatible. Section (...) 3 considers those definitions of pornography that make an a priori distinction between pornographic and artistic representations. The difference between the ‘merely’ erotic and the pornographic is also discussed in this context. Section 4 provides a critical assessment of the most recent and elaborate arguments against the compatibility of pornography and art. Finally, in Section 5, a case is made for the existence of pornographic art, as a subcategory of erotic art. (shrink)

This paper provides an in-depth review of Jerrold Levinson’s most recent work in aesthetics, focusing especially on his account of the incompatibility of art and pornography. The author argues that this account does not fit well with Levinson’s own intentional-historical definition of art and his Wollheimian account of depiction.

Hayek, one of the key thinkers of the twentieth century, has also been much misunderstood. His work has crossed disciplines—economics, philosophy, and political science—as well as national boundaries. He was an early critic of Keynes and became famous in the 1940s for his warnings that the advance of collectivism in Western democracies was the road to serfdom. He was a key figure in the post-war revival of free market liberalism and achieved renewed notoriety and some political influence in the 1970s (...) and 1980s as one of the chief intellectual inspirations for the New Right in Britain and the United States.This book traces Hayek’s intellectual formation in Austrian economics and English liberalism. It analyzes the main themes of his thought such as the idea of market order, the nature of knowledge, the limits of government, and his critiques of socialism and conservatism; assesses the originality and internal coherence of his account of liberalism and modernity; and explores as his interventions in policy debates. Gamble argues that Hayek the social scientist must be disentangled from Hayek the ideologue before you can appreciate the importance and implications of some of his insights into the nature of modern societies.An excellent critical guide to one of the most influential thinkers of our times, this book will be of interest to students in politics, economics, and philosophy, as well as to all those interested in a comprehensive introduction to one of the most controversial thinkers of the twentieth century. (shrink)

Art and Pornography presents a series of essays which investigate the artistic status and aesthetic dimension of pornographic pictures, films, and literature, and explores the distinction, if there is any, between pornography and erotic art. Is there any overlap between art and pornography, or are the two mutually exclusive? If they are, why is that? If they are not, how might we characterize pornographic art or artistic pornography, and how might pornographic art be distinguished, if at all, from erotic art? (...) Can there be aesthetic experience of pornography? What are some of the psychological, social, and political consequences of the creation and appreciation of erotic art or artistic pornography? This book will contribute to a more accurate and subtle understanding of the many representations that incorporate explicit sexual imagery and themes. It is sure to stir debate, and healthy controversy. (shrink)

(1993). Evolutionary theory and World Future. World Futures: Vol. 38, Theoretical Achievements and Practical Applications of General Evolutionary Theory, pp. 97-106.

Most party by-laws are too inexhaustive and vague to be adequate guidelines for describing party chairmanship or predicting the actual proceedings of chairman elections. Although nearly all party by-laws prescribe competitive elections, one candidate elections occur in 68 % of the cases and in nearly 25% of all cases the unique candidate is elected by acclamation only. Also, when more candidates are presented, the preferences of the party oligarchy are mostly made very clear.The small number of elections that involve real (...) choice even diminishes when reelections or the appointment of interim chairman are taken into account: the percentage of "more than one candidate"-presentation drops from 32 % to respectively 19% and 16%. In Flemish parties there is less opportunity for choice then in Francophone parties: 22 % versus 38% "more than one candidate"-presentation. Moreover, the chairman elections of the Francophone parties involve larger electoral bodies : e.g. in some parties and already in 41 % of the cases all partymembers have a right to cast their vote. A possibility that exists in none of the Flemish parties. As far as the evolution over time is concerned: there is a general and salient tendency towards more opportunities for real choice and larger electoral bodies.But taken together opportunities for real choice remain scarce : in general party chairmen are not actually chosen by the formally empowered party organs; before formal elections are held choices are mostly made already! (shrink)

“Intervention” is not synonymous with “care.” For an intervention to constitute care—which patients should have a right to access—it must be technically feasible and licit. Now these criteria do not prove sufficient; numerous archaic interventions remain feasible and legally permissible, yet are now bywords for spurious care. Therefore, we propound another necessary condition for an intervention to become care: the physician must rationally judge the intervention to be conducive to the patient’s good. Consequently, the right of access-to-care relies on physicians (...) being free to practice medicine in accord with their consciences, conscience being the rational faculty with which they judge the reasonableness of even mundane medical decisions. Since physicians operate as part of a community, it is further necessary to consider when central bodies may reasonably compel physicians to engage in interventions that the physician believes are not consistent with the patient’s good and/or are not congruent with the purposes of medicine. (shrink)

In this paper, we aim to show that there is a particular kind of bullshit that is not dealt with in Harry Frankfurt’s and G.A. Cohen’s critiques of bullshit. We also point out the evaluative complexity of bullshit. Frankfurt and Cohen both stress its negative and possibly destructive aspects, but one might wonder whether bullshit need always and necessarily be reprehensible. We will argue that there are positive or at least neutral aspects to some kinds of bullshit.

An anti-realist stance prevalent in philosophy of film, probably less familiar to analytical than continental philosophers, raises issues that are philosophically accessible and engaging. While this anti-realist stance can be historically situated many of its constituent ideas remain influential in contemporary milieus. A common claim of anti-realism is that realist art or cinema, in part by virtue of ‘reification', is inherently ‘non-transformative’. Without rigorously refuting all manifestations of the ‘reification thesis’, key assumptions of anti-realism associated with it are challenged in (...) this paper. An aesthetic and a political-ideological anti-realist thesis are identified and critiqued. Kant’s distinction between ‘aesthetic’ and ‘mechanical art’ provides a basis for defending a form of cinematic realism that vindicates its potential transformative power. The Kantian framework provides a reference point for a comparative analysis of Brecht’s and Lukács’ views on anti-realism versus realism as well as for a favourable reconsideration of Andre Bazin’s cinematic realism. (shrink)

This article examines MichËle Roberts' novel In the Red Kitchen in the light of contemporary spatial theory: in particular, the geographer Doreen Massey's critique of space and time. It argues that Roberts' text is particularly susceptible to such readings because of its multilayered portrayal of space, examining women's enclosure within the home across three different time periods, and through five different voices, which are overlaid one upon another in order to create a sense of simultaneity. In so doing, the text (...) shows that while the nature of women's oppression may change over time, their fundamental association with the domestic space does not. The article explores three different recurring spaces in the text: the kitchen, the bedroom and the crypt, the last of which acts as the receptacle for the trauma experienced by the female subject within the other two. The Gothic trope of the crypt is associated with incestuous abuse at the hands of a father-figure whom the woman both fears and desires; and thus it also signifies the precarious security to be found within the home. ‘Homelessness’, however, becomes another traumatic concept within a text which, while problematizing the relationship between home and identity, the subject and the space that contains and confines her, can envisage no other way of sustaining a secure sense of subjectivity. In the final analysis, while the boundaries that separate space from time are rendered porous and permeable in this novel, the complete collapse of all spatial boundaries is not conceptualized as desirable. (shrink)

Humans have, by biological necessity, always lived in watersheds. This article provides an overview of humans’ relationship to these watersheds as an introduction to a special issue of Thesis Eleven on watersheds. It describes the basic functioning of watersheds, how humans have always depended on them, and how they have slowly begun to manipulate them. Humans across the planet began by making strategic adjustments to water’s downward flow to aid the procurement of water and fish. As small states, empires, and (...) finally the Industrial Revolution unfolded, these interventions became more numerous with greater environmental impacts. The rate of riverine exploitation increased dramatically post-Second World War in line with the Great Acceleration. This, in turn, created our current worldwide ecological crisis. This crisis particularly affects the planet’s watersheds, and in turn, humans. The article ends with the assertion that studies of such a complex event are by necessity multi-disciplinary and inter-regional. It then outlines the contents of this special issue which examines watersheds in Asia, America and Australia. (shrink)