BackgroundAddictive behavior of gambling, gaming and internet activity is partly a new research domain and has not been well investigated with regard to sexual minority populations. Although health disparities between sexual minorities and the general population are well documented, there is a lack of inclusion of sexual minorities in both research and clinic. Among lesbian, gay and bisexual populations certain features could be present that play a role for the development of addictive behaviors, such as social isolation and increased risk (...) of other psychiatric problems. The aim of this study was to investigate problem gambling, problem gaming and problematic internet behavior in a European context and if it is affected by sexual orientation status.MethodsAn online web-survey was distributed among web-panels in England, Poland, Switzerland, Italy, Spain, Denmark, and Sweden in 2017–2018.Result10 983 complete answers were collected. 7.1% of the participants had a sexual minority status. Regression models found that there was no difference in gambling, gaming and internet behavior among heterosexual and sexual minority men. Sexual minority women were associated with problematic gambling and gaming behavior, when also controlling for age and nationality. When also controlling for psychological distress, women defining as having another sexual minority status than lesbian and bisexual remained significant for having a problematic gaming behavior.ConclusionAn awareness of female sexual minority perspectives is relevant in facilities treating behavioral addiction as well as in future research in behavioral addiction. More research is needed in problematic gambling and gaming behavior in different sexual minority populations with regard to psychiatric comorbidity and living conditions. An inclusion of sexual minority groups defining as other than gay and bisexual is needed in future research. No significant differences were found between heterosexual and sexual minority men in adjusted analysis in this study. (shrink)

This chapter talks about the power of music, how characters in South Park use it in telling stories, and how music conveys ideas in the context of Western philosophy. But South Park does raise questions about music that philosophers— particularly Plato—have dealt with again and again. Despite their flaws, these Greek thinkers' views were instrumental to asking questions about music's impact (often referred to as ethos), its mathematical properties in relation to the universe, and how these two aspects interact with (...) one another. Phil Collins and Asia may not survive history's merciless aesthetic filter, just as the aulos instrument vanished long ago, but where the underlying philosophy is concerned, the issues are timeless. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 169-171 [Access article in PDF] Book Review The Passion for Happiness: Samuel Johnson and David Hume The Passion for Happiness: Samuel Johnson and David Hume, by Adam Potkay; 241 pp. Ithaca: Cornell University Press, 2000, $42.50. This book is a sustained attack on the widespread impression that Samuel Johnson and David Hume were antithetical characters, a notion largely nourished by that memorable moment when (...) Boswell brings up Hume "and other skeptical innovators" and Johnson replies, as we all remember, "Truth will not afford sufficient food to their vanity; so they have betaken themselves to error. Truth, sir, is a cow which will yield such people no more milk, and so they have gone to milk the bull." Professor Potkay feels that this image has radically distorted our perception of the truth.A large part of the problem, as Potkay sees it, is that the Johnson of the biography is not the same as the Johnson seen in his writings. Boswell, he claims, "superbly fashioned a Johnson after his own heart" (p. 29). Biography is beset with the misapprehensions we all have of another individual, but personal writing is equally subject to rhetorical posturing, selective memory, and other histrionics of the ego.Potkay makes a strong and interesting case for the proposition that Johnson and Hume were in accord as to their ideas of happiness. "Johnson and Hume set forth largely compatible visions of human happiness that, while rooted in Cicero, draw as well on modern authors..." (p. 5). In this view, happiness is intrinsically social, the inverse of Sartre's L'enfer, c'est les autres. We are estimable in our own eyes only if we are so in the eyes of others. The astronomer in Rasselas finally surmounts his delusion that he controls the weather only by leaving his solitude for the society of others. Hume declared that perfect solitude is the greatest punishment that we can suffer (p. 60). Hume and Johnson both agree that cities afford the greatest happiness through a multiplicity of agreeable consciousness--London for Johnson and Paris for Hume.Potkay argues that the chief ethic in the writings of both Hume and Johnson [End Page 169] "is the eclectic, Ciceronian brand of Stoicism Hume delineates in 'the Stoic', a sociable Stoicism whose end is 'the moderating of our passions, the enlightening of our reason'" (p. 77). The path to happiness lies in cultivating reason and moderating passion. However, unlike ethicists that downgrade the passions, Hume and Johnson see the passions as necessary and good. As against the whole duty of man, they think that pride is good, unless it causes pain to others. This is fresh news for those of us who have squirmed in Sunday school classes when pride was severely denounced and humility recommended--squirmed in spite of our reverence for Milton. Johnson and Hume viewed pride and the pleasure derived from praise as inspiring progress in trades, professions, arts, and science. It excites ingenuity. This is what we didn't dare say in Sunday school.Potkay searches indefatigably for parallels between the two men. We are told that they both rejected the hard determinism that some thinkers derived from Newtonian physics. In the midst of all this we have another discussion of tragedy, pity and fear, etc., the sort of thing that requires the reckless exuberance of youth in order to relish. Are we expected to feel astonished that here too we find them in accord? The parallels between the two men are pushed to the point that a reader might begin to suspect that there is a hidden half of the text that is being withheld, perhaps countervailing evidence. We begin to feel that lurking suspicion evoked by someone too zealously dedicated to a thesis.By the middle of the book, a reader is likely to be convinced that far from going forth to milk the bull, Hume was almost an intellectual twin of Johnson. At the same time, though, sepia thoughts begin to seep into the mind. We notice that these parallel thoughts... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:BoredomWalter E. BromanBoredom, by Patricia Meyer Spacks; xii & 289 pp. Chicago: University of Chicago Press, 1995, $24.95 paper.Scholars who have been immersed in the eighteenth century are often imbued with a penchant for common sense and develop a rich, lucid style. Professor Spacks exemplifies these qualities admirably. In spite of the sludgy title, this is a stimulating and rewarding book. Until now my only thinking about boredom (...) has happened while watching goldfish or cows and wondering if they were slowly perishing of boredom. Otherwise, boredom has been a gray experience accompanying committee meetings or reading insurance prose, but scarcely a matter for philosophy. Professor Spacks shows that there is much here for serious thought. She traces the history of boredom, mainly as manifested in novels. “This book’s project is to investigate boredom’s imaginative functions during the past two and a half centuries, mainly in England, where speakers first labeled the condition early in the second half of the eighteenth century” (p. 6). In this period the idea of boredom was still influenced by Christian thought. Thus, Johnson saw Boswell’s boredom in Scotland as a lapse in Christian morality, a lack of personal resources. Johnson felt the universal power of boredom; it invaded even “the Happy Valley of Rasselas,” but he insisted on the moral duty of opposing it with spirited effort. Women writers of the period are pictured as doing just that—heroically defeating a boredom imposed upon women by society through the vivacity and energy of language in their epistles and narration. Professor Spacks depicts the early nineteenth century as afflicting later decades with sensibility and didactic tedium and developing complex new aspects of boredom as a mode of aggression that could shrivel people, arts, and society. “To real aristocrats belongs the repudiation of feeling—passion and compassion—that constitutes boredom” (p. 201). In the twentieth century boredom becomes ubiquitous and has “enormous and essentially unalterable power” (p. ix). This century is like a fulfillment of Pope’s vision of universal dullness at the end of The Dunciad.During the course of this history we become almost convinced that in the eighteenth and nineteenth centuries women hunkered in a cotton-wrapped male-dominated world which went to great lengths to normalize female boredom. “Often tedium attends compliant virtue” (p. 78). This idea of [End Page 506] oppressed and suffering women is repeated in the text to the point of—well—boring the reader. From my reading in general and from this book I garnered the impression that eighteenth-century women were for the most part tough, alive, and intelligent masters of boredom. I can almost hear their spirits crying, “save the pity!”Professor Spacks fulfills the older mission of criticism to promote interest and attention, and provide insight. Like literature, this mission aims to defeat boredom. We are rewarded with a brilliant discussion of Sense and Sensibility, showing us how Austen’s subtle rhetoric guides the reader’s perception of what is interesting—to learn to find seemingly dull Elinor and Edward actually interesting, to thwart our shallower driftings. In a similar vein with moral bearings Professor Spacks manages to stir interest in a discussion of Wordsworth’s “The Idiot Boy.” We recall how Wordsworth militated against the human inclination to depend upon gross and violent stimulants. He proposed that we ought to be interested in what is moral and thereby genuinely interesting. In “The Idiot Boy” he aimed to enlarge our moral attention span to embrace the lowly and unlikely. I began to feel much less like a moral derelict when Professor Spacks admitted that she too finds “The Idiot Boy” boring.This is such a rewarding book that I feel uncomfortably churlish in pointing out that aspects of the book are irksome. In general, her sentences are beautiful, but in large tracts of the book we find an Emersonian discursiveness where the discussions are crumbly and anfractuous, tacking from this to that. We don’t get enough sustained driving down a clear track. She suggests in passing that Hannah More’s Coelebs is boring to the later nineteenth century when people become more concerned with inner conflicts and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Playtexts: Ludics in Contemporary LiteratureWalter E. BromanPlaytexts: Ludics in Contemporary Literature, by Warren Motte; 233 pp. Lincoln: University of Nebraska Press, 1995, $31.50.When readers early encounter such stuff as “Thus in the category of agôn, for example, hide-and-seek would tend toward paidia, whereas chess would tend toward ludus” (p. 7), they suspect that this book will be a rugged and humorless read, in spite of the fun hinted (...) at in the title. Much of the book turns out to fulfill this dread. There is no escaping the sour smell of academic jargon: “to privilege,” “to foreground,” “to marginalize,” “diegetic frame,” etc., or the tangled infelicities of academic prose.Professor Motte sets out to examine a series of texts, “... each text considered a different ludic economy with its own rules and norms, but all texts defined as language games” (p. 15). While struggling through the discussions of Gombrowicz’s Ferdydurke, André Breton’s Nadja, or Albertine Sarrazin’s Astragal, one catches glimpses of a book that might have assumed sumptuous flesh. This is especially true in the chapter on Nabakov’s Pale Fire, which is quite interesting and well written. Nabakov’s is “an agonistic game that pits Kinbote against Slade, the Sladeans against Kinbote, Kinbote against us the readers, Nabakov against Kinbote, we the readers against Nabakov” (p. 81). This is a game in which Nabakov offers his readers “a full partnership in the creative process” (p. 82). I was forced to recognize that I had enjoyed reading Pale Fire, all the while only being aware of a minim of these ludic convolutions!A major problem with this book and with the books Professor Motte discusses can be shown most vividly in the chapter on Georges Perec’s La Disparition, where the game is to write an entire novel without using the letter “e.” This “literary machine” is supposed to be geared for expressing the iron impositions of life and its ineluctable loss and lack. I suspect that this semantic juice is squeezed out only by critical legerdemain. The discussion merely succeeds in convincing me that this literary tour de force might be suitable for Guinness’s Book of Records, but would likely be a boring read. It reminds me of a Rube Goldberg contraption or of Johnson’s dog walking on its “hinder legs.” Calling this a lipogram linked to Greek antiquity does little to rinse away the sweaty scent of useless exertion.Professor Motte includes a quotation from Eco referring to Swift’s book-making machine in the Grand Academy of Lagado, which provides a sinister and ludicrous image of much of this ludic literature. Eco sees the text as a “combinatory, ludic machine” (p. 191). This literature as machine and game is remarkable for its lack of any concern for the reader: “... the game is finally less vital for us than it seems to have been for Gombrowicz” (p. 68). Compare this with Dryden who took it as axiomatic that the audience’s “concernment” is of vital importance. Now, though, the readerly text is supplanted by the writerly (p. 163). René Bellato builds up “a narrative technique based on the systematic [End Page 243] frustration of the reader’s expectations...” (p. 166). A kind of apex of readerly boredom is devised in Harry Matthew’s literary machine “Matthew’s algorithm”—exemplified by the permutational poetics in Le Savoir des rois, where the same verse is given endless alterations of word order. There lurks a sniffy implication that if you don’t go along with this sort of game you aren’t a good reader. I don’t mind straining to be a good reader if the reward is commensurate with the effort. Professor Motte never explains why we ought to bother.Professor Motte presents various interesting theories of play, as diverse as Huizinga’s Homo Ludens and Freud, but his own position is not easy to discern. He seems to be sympathetic with Calvino’s notion that “all literature is play” (p. 142). For this to be true, the definition of ludics or play would have to have a Humpty Dumpty squishiness. It would have to be ample... (shrink)

ABSTRACT This essay analyzes the controversy that attended the prize essay question on monads proposed by the Berlin Academy of Sciences in 1746. The controversy was first touched off by an anonymous pamphlet published by the mathematician Leonhard Euler, the academy's most well known member, that attacked the doctrine of monads. It peaked with the awarding of the prize to Johann Heinrich Gottlob Justi, whose winning essay closely followed Euler's arguments. This essay discusses the controversy as one instance in a (...) broader quarrel in the German academic community over the suitability of Christian Wolff's philosophy as the foundation for a broad range of academic disciplines, including natural philosophy. It also analyzes the controversy as displaying the central role of the periodical press in the emergent German public sphere. (shrink)