Human uterus transplantation is currently under investigation as a treatment for uterine infertility. Without a uterus transplant, the options available to women with uterine infertility are adoption or surrogacy; only the latter has the potential for a genetically related child. UTx will offer recipients the chance of having their own pregnancy. This procedure occurs at the intersection of two ethically contentious areas: assisted reproductive technologies and organ transplantation. In relation to organ transplantation, UTx lies with composite tissue transplants such as (...) face and limb grafts, and shares some of the ethical concerns raised by these non-life saving procedures. In relation to ART, UTx represents one more avenue by which a woman may seek to meet her reproductive goals, and as with other ART procedures, raises questions about the limits of reproductive autonomy. This paper explores the ethical issues raised by UTx with a focus on the potential gap between women's desires and aspirations about pregnancy and the likely functional outcomes of successful UTx. (shrink)

This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of questions surrounding Greek (...) 'character' words, including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relationship to his 'dramatic' hero. (shrink)

Business and Society Review, Volume 127, Issue S1, Page 193-222, Spring 2022.

The #1bestseller that presents a funny, honest, and engaging look at the craziness of modern life, explaining why we're all just a little bit out of our minds. In Sane New World, Ruby Wax - comedian, writer and mental health advocate - shows us just how our minds can send us mad as our internal critics play on a permanent loop tape. 'Don't do that.. why you... you didn't... should have... but you didn't...'. Ruby knows those voices well. She has (...) been on a tough but ultimately enlightening journey that has taken her from battling depression to achieving a Masters Degree from Oxford University in Mindfulness-based Cognitive Therapy. In Sane New World, Ruby helps us all understand why we sabotage our sanity, how our brains work and how we can rewire our thinking - often through simple mindfulness techniques - to find calm in a frenetic world. (shrink)

Using historical documents and evidence gathered in the field, Rubie Watson provides a social history of the 600-year-old Chinese lineage village of Ha Tsuen in the New Territories of Hong Kong, and demonstrates the crucial role that the lineage played in the evolution of the community from a few scattered households in the fourteenth century into a regional power from the 1700s onwards. Despite a patrilineal ideology that extols the virtues of brotherhood and equality, Dr Watson shows that the lineage (...) has in fact played a central role in the formation, development and maintenance of an élite class of landlords and merchants, who, even though their economic importance has now declined, continue to exert political control. Dr Watson examines the dynamics of interclass relations within a single lineage and shows how these relations have been transformed as a consequence of the growth of wage labour. (shrink)

La violencia contra las mujeres alcanza su expresión más siniestra en el flagelo de nuestro tiempo: el feminicidio. No obstante, la respuesta social e institucional ha sido insólita. Grandes sectores sociales permanecen impasibles ante el aumento de asesinatos cruentos de mujeres y niñas. Inadmisible desde una concepción de humanidad crítica y consciente de sus posibilidades de realización más alta, la misoginia que sostiene el orden social resulta alarmante. El objetivo del trabajo es comprender la estructura simbólica que alienta la violencia, (...) mediante una reflexión crítica sobre sus posibilidades de transformación. La conclusión a la que llega es que, aunque la estructura simbólica de la dominación sexual opera imperceptiblemente para justificar lo que debería ser condenado de forma generalizada, el desarrollo de la sensibilidad actual ofrece una posibilidad de identificar agravios que antes no se reconocían. Palabras clave: Orden simbólico, Violencia, Feminicidio, Hermenéutica, Misoginia. (shrink)

Scholars are beginning to use the concept medicalization of poverty to theorize how the United States spends large amounts of money on illnesses related to poverty but invests much less in preventing these illnesses and the conditions that create them. This study examines the connection between poverty, disease burden and health-related costs through the in-depth interviews of 86 Black mothers living in neighborhoods with high levels of violence on the South Side of Chicago. The rippling costs of poverty and violence (...) include 56 percent of the mothers reporting post-traumatic stress disorder symptoms and 48 percent reporting mild to severe depressive symptoms. Mothers also report poor housing quality such as “toxic mold.” The physical costs include reports of back pains, stomach aches, hair falling out, panic attacks, hands shaking, insomnia, fainting from exhaustion and lack of sexual desire, and children with asthma and osteomyelitis reportedly from the exposure to mold. Transformative solutions are explored that build upon the cultural resources of Black mothers and engage policy levers. (shrink)

India and its religion played an important role in the assault on Christian orthodoxy during the late Enlightenment. However, the late-seventeenth century transition from antiquarian apologetics to libertinism is harder to explain, and yet historically more crucial. This chapter maps this process with particular reference to the interpretation of the remarkable range of materials concerning Hinduism that appeared in the illustrated encyclopedia of world religions Cérémonies et coutumes de tots les peuples du monde. Its editor, Jean-Fréderic Bernard, went well beyond (...) the mere task of compilation and publication, and his interpretative choices, colored by a rationalist form of Deism, often departed from the differing agendas present in his sources. On the basis of considering these differences, this chapter seeks to elucidate how exactly the shift from comparative antiquarian apologetics to a comparative libertine anthropology of religion took place and analyzes its implications for the religious culture of the Enlightenment. (shrink)

Ruby Meager; The Dangers of Aestheticism in Schooling, Journal of Philosophy of Education, Volume 15, Issue 1, 30 May 2006, Pages 23–30, https://doi.org/10.1111.

Ruby Meager; The Dangers of Aestheticism in Schooling, Journal of Philosophy of Education, Volume 15, Issue 1, 30 May 2006, Pages 23–30, https://doi.org/10.1111.

This book is the first detailed study of the plays of Sophocles through examination of a single ethical principle--the traditional Greek popular moral code of "helping friends and harming enemies." Five of the extant plays are discussed in detail from both a dramatic and an ethical standpoint, and the author concludes that ethical themes are not only integral to each drama, but are subjected to an implicit critique through the tragic consequences to which they give rise. Greek scholars and students (...) of Greek drama and Greek thought will welcome this book, which is presented in such a way as to be accessible to specialists and nonspecialists alike. No knowledge of Greek is required. (shrink)

Early Christian writers defined idolatry around the monotheistic distinction between proper worship of the creator and vain worship of the creature, which they had inherited from Hellenistic Judaism. Despite the remarkable consensus about the validity of this theological analysis, the medieval synthesis was under severe strain throughout the early modern period, mainly because of the concept's extended range of application in the new contexts of religious controversy. In all these cases, deciding what practices constituted idolatry was open to debate. By (...) the eighteenth century, libertine writers could retain the concept of superstition at the expense of that of idolatry, which Voltaire (himself an anti-Christian deist) denounced as meaningless. (shrink)

In 1644 George Wither stood outside or without the doors of the House of Commons and delivered a speech to Parliament and the nation simultaneously. Not only did this “print oration” function as a prototype for Areopagitica, A Speech of John Milton [...] to the Parliament of England, but it inspired a genre of print pamphlets that would extend well into the eighteenth century. This article identifies and argues for the popular consequences of the genre, detailing its contribution to England’s (...) developing structure of political communication and representation. (shrink)

The AI world was rocked with controversy when Blake Lemoine, an AI researcher at Google claimed that their new LaMDA model was sentient. This Curmudgeon’s Corner article explores his claims critically by contrasting them to the original LaMDA paper released by the team of researchers at Google. The piece explores the human tendency for anthropomorphization via historical chatbots such as Eliza and potential reasons why we developed this propensity. It addresses the potential causes for the model’s choice of words. Subsequently, (...) using the scoring criteria of the language model, I provide an explanation for the model’s behavior in the conversation with Lemoine. Finally, I explore some of Lemoine’s assertions and break down the logical gaps they hold. I conclude on a potential reorientation of the debate in view of our unfortunate tendency. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Layers of Seeing and Seeing through Layers: The Work of Art in the Age of Digital ImageryLouisa Wood Ruby (bio)Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be. This unique existence of the work of art determined the history to which it was subject throughout the (...) time of its existence. This includes the changes which it may have suffered in physical condition over the years as well as the various changes in its ownership.—Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction, 1936In consulting on or creating a Web site designed to use works of art for teaching purposes, it is extremely important to be aware of the differences between seeing an artwork “in the flesh” and in reproduction. Museum educators are highly aware of this disparity and are therefore eager to have students visit museums to experience authentic works of art instead of seeing them only in books, slides, or on Web sites. Already in 1936, Walter Benjamin called attention to the drawbacks of reproductions; his words resonate all the more in our age of digital image overload. Easy access to images is, of course, desirable, and the advanced technologies we now have can even aid our understanding of a work of art. Nonetheless, the physical experience of standing in front of a work of art can never be replicated by seeing it on a flat screen or a piece of paper. In this article I will examine the advantages, disadvantages, differences, and similarities between looking at a Web-based image of a Rembrandt painting, a photograph of a Rembrandt painting, and actually standing in front of one of his original works. I will also discuss the more advanced technologies for examining paintings and how they can help us “see” further into a work of art and increase our understanding of it. [End Page 51]When standing in front of a painting, you are seeing a three-dimensional object with a history of its own. Its nicks, the dings in its frame, its true colors and texture, its exact size, the quality of the brushstrokes, and the amount of paint are all visible to the careful observer, who stands in a long line of viewers over the centuries who have appreciated the artist’s achievement. When approached from different angles, a painting in real space can even seem to vary in the mood it conveys or the impression it gives. A striking demonstration of this phenomenon occurred during a recent visit to the Metropolitan Museum of Art, when Rika Burnham, a museum educator, divided our Rembrandt Project group in half and asked us to look at Rembrandt’s 1660 Self-Portrait from different angles and describe the sitter’s mood. When we compared notes, our impressions of the painting were so different that an outside listener would have thought we were looking at two completely different paintings. We then switched angles, and our respective impressions changed dramatically. Effects of light (shadows, highlights, color) and interpretations of elements in the painting, such as the hand or the hat, had been affected by the angle from which we had approached the work, and these minor adjustments had significantly altered the way we “read” the painting.This kind of experience is of course not possible when looking at a photograph of a work of art. A photograph can be very useful and can usually tell you much about a painting, but, unfortunately, the photograph itself is an object that was taken at a specific time and place, under specific circumstances that might or might not be ideal for capturing the essence of what it is trying to reproduce. Because the angle from which a photograph is taken remains static, it only allows us to experience the painting from one direction, under the given set of lighting conditions. Other problems abound. Two color reproductions of a given painting will more than likely offer wildly different color tonalities because photographs and reproductions in many publications imperfectly correct for color. Lighting of the painting may... (shrink)

Christopher Rowe's new book is an ambitious attempt to walk the tightrope between, on the one hand, bone-headed neglect of Plato's use of dramatic form, and, on the other, obtuse blindness to the presence of a serious philosophical agenda. This locates Rowe on the cutting edge of current methodological controversies, but his book also has deep roots in the past. He harks back to the oft-maligned Paul Shorey to offer an updated, newly sophisticated "unitarian" reading of the dialogues, one that (...) depends heavily on equating Plato's own voice with that of his Socrates, who serves as "[Plato's] alter ego, his persona, his mask". This Socrates is not merely a mouthpiece for a developing Plato's changing views, but a coherent character who represents a consistent Platonic voice throughout the works in which he appears—and even those in which he doesn't. Among other things, this close identification of Plato with Socrates requires Rowe to apply the principle of charity not just to the author, but to his creation. Since Plato and Socrates are one, Plato is fully accountable for all the arguments he assigns to Socrates: there is no dramatic wiggle-room for him to assign the latter any truly bad arguments for his own authorial purposes. (shrink)

Members of marginalized communities experience a lack of representation of their unique life experience in popular fictional media – and if they do see themselves represented, it is often as a stereotype, caricature, or minor character. Black Panther broke this mold by offering abundant, nuanced, and non‐stereotypical representation of Black experience. Black Panther offers a way of interpreting the real world through its fictional representations of Black people and Black society. Fictional works such as Black Panther offer viewers a unique (...) type of what Gaile Pohlhaus calls an epistemic resource : a resource that individuals draw upon in order to know. The hypothetical nation of Wakanda gives audience members of other racial groups a different or new perspective on Black identity, which can aid their interpretations of the real world. Quite the contrary, Black Panther is a film that can elucidate a multitude of Black peoples' experiences and perspectives. (shrink)

This article analyzes ‘commemorative’ images of Diana Spencer for how they invoke tropes of charity and sympathy to produce racialized mediations of history, memory, motherhood and US national identity. Drawing from cultural theory that establishes technologies of memory and forgetting as material forces, this discussion illumines how images of Diana appearing in such popular US magazines as People and Life incorporate visual scripts of race and sentiment that have historically demarcated the relative social value(s) of maternity and reproduction. Understanding visual (...) culture as a force that is both structured by and structuring of hierarchies of power enables us to see how the posthumous circulation of images of ‘Our Princess’ are indeed not ideologically innocent memorializations. Rather, these images are the physical, embodied material of a national monument that provides faithful ‘visitors’ an affective connection to historically idealized notions of whiteness, motherhood, and the family. (shrink)