UK-based research conducted within a healthcare setting generally requires approval from the National Research Ethics Service. Research ethics committees are required to assess a vast range of proposals, differing in both their topic and methodology. We argue the methodological benchmarks with which research ethics committees are generally familiar and which form the basis of assessments of quality do not fit with the aims and objectives of many forms of qualitative inquiry and their more iterative goals of describing social processes/mechanisms and (...) making visible the complexities of social practices. We review current debates in the literature related to ethical review and social research, and illustrate the importance of re-visiting the notion of ethics in healthcare research. (shrink)

Women do most of the parenting. To provide a stable and healthier setting for children they must sublimate their own interests and feelings, which puts greater pressures on women to communicate needs clearly or to be deceptive when the occasion demands. The likely advantage in communication skills and self-control may ameliorate the impact of disorders like ADHD where the most serious deficit is in self-inhibition. This would account for the strikingly uneven male to female sex ratio of 2:1 (in epidemiological (...) samples) to 10:1 (in clinical settings), the higher threshold for females, and the sex difference in the pattern of associated mental disorders. (shrink)

The Plant Ontology (PO) is a community resource consisting of standardized terms, definitions, and logical relations describing plant structures and development stages, augmented by a large database of annotations from genomic and phenomic studies. This paper describes the structure of the ontology and the design principles we used in constructing PO terms for plant development stages. It also provides details of the methodology and rationale behind our revision and expansion of the PO to cover development stages for all plants, particularly (...) the land plants (bryophytes through angiosperms). As a case study to illustrate the general approach, we examine variation in gene expression across embryo development stages in Arabidopsis and maize, demonstrating how the PO can be used to compare patterns of expression across stages and in developmentally different species. Although many genes appear to be active throughout embryo development, we identified a small set of uniquely expressed genes for each stage of embryo development and also between the two species. Evaluating the different sets of genes expressed during embryo development in Arabidopsis or maize may inform future studies of the divergent developmental pathways observed in monocotyledonous versus dicotyledonous species. The PO and its annotation databasemake plant data for any species more discoverable and accessible through common formats, thus providing support for applications in plant pathology, image analysis, and comparative development and evolution. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 67-70 [Access article in PDF] Response to Mary J. Reichling, "Intersections: Form, Feeling, and Isomorphism" David Stevenson Vassalboro, Maine Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. She states her purpose in the opening paragraph: "to examine and to elucidate various aspects of (...) these three concepts in her [Susanne Langer's] writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education."A philosophy of music education must be the focus in all ensuing debate, and must remain of paramount importance. Arguments, especially dialectic arguments, are not won or lost; they merely strip away the outer garments until more and more of the truth is exposed. My thoughts regarding Reichling's essay are offered in this vein.Reichling amply makes the point that music is a dynamic moving form. She asserts that "Langer argues that form is not separable from content," clarifying further by saying that "By content Langer is designating the form's import or meaning." And she offers other examples of dynamic, moving forms, among them, "forms created by movements of clouds or fog through the mist and early light." [End Page 67]At this point, perhaps interjecting the notion of perception is in order. I would suggest that the cloud formations offer no content or meaning outside of the viewer's perceptions or imagination. Music (art), being the nebulous subject that it is, ensconced in subjectivity and steeped in perception, both interpersonal and intrapersonal at the same time, exists to be taken by individuals, each at his or her own level of accomplishment, understanding, and interest. Therefore, does the meaning inhere in the form, as Langer and Reichling assert, or is it assigned by the listener (in the case of music) or by the viewer (in the case of the cloud formation)? "If the doors of perception were cleansed every thing would appear to man as it is: infinite."1 William Blake's observation notwithstanding, the truth is that perception is the only thing that we have with which to view our existence. I believe that there is such a thing as absolute truth, and that reality does exist. However, we mere mortals lack the ability to view the world through anything other than our own perceptions. The knowledge or meaning gained through contemplation of the form is, in all likelihood, quite different for each observer.Likewise, imagination and conceptual ability play a role in interpreting what the senses have perceived. Langer, and by quotation, Reichling, offers the notion of a red dot placed on the rim of a spinning wheel that appears to the viewer as a red circle. "When the spinning stops, the form, the red circle, evaporates. Did it really exist? Does it have ontological status? Is it merely an illusion?" I asked my students to close their eyes and imagine a spinning wheel with a red dot placed on the rim. I asked them, "As the wheel spins, do you see the dot?" The answer was that they saw a red circle. Did they really see a red circle, or even a spinning wheel? Of course not, we were in a music classroom. Yet they were able to conceptualize or imagine the image, and I would suggest that that carries more weight in the realm of art than does actual ontological status.The problem with the experiment of the preceding paragraph is that "Langer argues that form is not separable from content, writing that it is not possible 'to divorce the logical form from its one embodiment or expression.'" In the subsequent paragraph Reichling states, When the music stops, when the ballet is concluded, when the play ends, when the wheel stops spinning, memory may remain but the content (content as meaning-my parenthetical interjection), the feeling, the red circle, the image the dancer created is gone. Is this illogical or has knowledge... (shrink)

This article constructs and deploys a set of autoethnographic narratives from the author’s experience as a Baptist minister to critically retrieve the category of ‘women’s experience’ for feminist theological construction. Autoethnography, as a response to the crisis of representation in the Humanities, uses personal narratives of the self to reveal, critique and transform wider cultural trends. It therefore provides helpful tools for analysing, critiquing and transforming theological thought and practice. Following the article’s methodological sections, the constructive sections use the crafted (...) autoethnographies to re-frame Rowan Williams’s vision for how church and world co-constitute each other towards God’s just ends. Whereas Williams argues that this co-constitution occurs through processes of interactive transformative judgment, the feminist theological understanding argued for here founds the process instead on interactive, transformative grace. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 67-70 [Access article in PDF] Response to Mary J. Reichling, "Intersections: Form, Feeling, and Isomorphism" David Stevenson Vassalboro, Maine Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. She states her purpose in the opening paragraph: "to examine and to elucidate various aspects of (...) these three concepts in her [Susanne Langer's] writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education."A philosophy of music education must be the focus in all ensuing debate, and must remain of paramount importance. Arguments, especially dialectic arguments, are not won or lost; they merely strip away the outer garments until more and more of the truth is exposed. My thoughts regarding Reichling's essay are offered in this vein.Reichling amply makes the point that music is a dynamic moving form. She asserts that "Langer argues that form is not separable from content," clarifying further by saying that "By content Langer is designating the form's import or meaning." And she offers other examples of dynamic, moving forms, among them, "forms created by movements of clouds or fog through the mist and early light." [End Page 67]At this point, perhaps interjecting the notion of perception is in order. I would suggest that the cloud formations offer no content or meaning outside of the viewer's perceptions or imagination. Music (art), being the nebulous subject that it is, ensconced in subjectivity and steeped in perception, both interpersonal and intrapersonal at the same time, exists to be taken by individuals, each at his or her own level of accomplishment, understanding, and interest. Therefore, does the meaning inhere in the form, as Langer and Reichling assert, or is it assigned by the listener (in the case of music) or by the viewer (in the case of the cloud formation)? "If the doors of perception were cleansed every thing would appear to man as it is: infinite."1 William Blake's observation notwithstanding, the truth is that perception is the only thing that we have with which to view our existence. I believe that there is such a thing as absolute truth, and that reality does exist. However, we mere mortals lack the ability to view the world through anything other than our own perceptions. The knowledge or meaning gained through contemplation of the form is, in all likelihood, quite different for each observer.Likewise, imagination and conceptual ability play a role in interpreting what the senses have perceived. Langer, and by quotation, Reichling, offers the notion of a red dot placed on the rim of a spinning wheel that appears to the viewer as a red circle. "When the spinning stops, the form, the red circle, evaporates. Did it really exist? Does it have ontological status? Is it merely an illusion?" I asked my students to close their eyes and imagine a spinning wheel with a red dot placed on the rim. I asked them, "As the wheel spins, do you see the dot?" The answer was that they saw a red circle. Did they really see a red circle, or even a spinning wheel? Of course not, we were in a music classroom. Yet they were able to conceptualize or imagine the image, and I would suggest that that carries more weight in the realm of art than does actual ontological status.The problem with the experiment of the preceding paragraph is that "Langer argues that form is not separable from content, writing that it is not possible 'to divorce the logical form from its one embodiment or expression.'" In the subsequent paragraph Reichling states, When the music stops, when the ballet is concluded, when the play ends, when the wheel stops spinning, memory may remain but the content (content as meaning-my parenthetical interjection), the feeling, the red circle, the image the dancer created is gone. Is this illogical or has knowledge... (shrink)

Drawing on philosophy, theology and psychoanalysis as well as on literary criticism, this collection of essays explores a range of fantasy texts with particular attention to the various ways in which they seek to deal with the reality of death. The essays uncover some fascinating links, and indeed tensions, between the writers discussed.

William Lillie. G.'E. Moore: Principia Ethica. Sir David Ross: The Right and the Good. The Foundations of Ethics. C. L. Stevenson: Ethics and Language. R. M. Hare: The Language of Morals In the following list, which makes no claim to ...

My study of Mary Shelley and father includes her husband because Percy Shelley’s obsessions with patriarchy, with “ ‘GOD, AND KIND, AND LAW,’ ” influenced profoundly Mary’s* art and life. Percy’s idealizations of father in The Revolt of Islam and Prince Athanase indicated ways or resolving familial antagonisms which Mary adopted and developed her later fiction. Percy’s relationship with Frankenstein is still more intricate. Recognizing that her husband’s obsessions with father and self-creation were contributing to the deterioration of their marriage, (...) Mary represents these obsessions in Victor Frankenstein—partly to vent in art the anger which would have further damaged the marriage, and party to show Percy before it was too late the errors of his ways. It was too late. Percy responded to Frankenstein in Prometheus Unbound and The Cenci with a reaffirmation of sonship which has been largely unrecognized by scholars.Father looms so large for both Mary and Percy Shelley that no one critical approach can account for him fully. At their most idealistic—and thus most traditional—the Shelleys encourage a critical methodology which integrates the traditional disciplines of biographical and close textual analyses. By taking this approach to Mary’s later fiction and to Percy’s The Revolt of Islam, I can not only confirm the prominence of father for the Shelleys but also establish the ideal against which their most subversive and important art was created. Reading this indirect, overdetermined art in light of the negative Oedipus will help answer important questions about Frankenstein, Prometheus Unbound, and The Cenci and will, I hop, add to our understanding of the vexed role of father in the Romantic period and in subsequent generations whose children we are. William Veeder, professor of English at the University of Chicago, has published books on Yeats, Henry James, and Victorian feminism. His Mary Shelley and “Frankenstein”: The Fate of Androgyny will appear in December 1985. The Art of Criticism: Henry James on the Theory and the Practice of Fiction, coedited with Susan M. Griffin, and Dr. Jekyll and Mr. Hyde: The Centenary, a collection of new essays on Stevenson’s novel, are also forthcoming . He is currently at work on The Serpent’s Tale: Anglo-American Gothic Fiction, 1885-1914. (shrink)

This vintage book contains Robert Louis Stevenson s "Edinburgh: Picturesque Notes." First published in 1879, this book is one of the most personal and lucid of Stevenson s works. Half guide book, half social commentary, this volume furnishes an interesting and authentic insight into 'Auld Reekie': the Edinburgh of times past. The chapters of this book include: Introductory, Old Town The Lands, The Parliament Close, Legends, Greyfriars, New Town Town and Country, The Villa Quarters, The Calton Hill, Winter (...) and New Year, and To The Pentland Hills. Robert Louis Balfour Stevenson (1850 - 1894) was a famous Scottish essayist, novelist, poet, and travel writer whose most famous works include "Treasure Island" and "The Strange Case of Dr Jekyll and Mr Hyde." We are republishing this antiquarian book now in an affordable, modern edition - complete with a specially commissioned new biography of the author.". (shrink)

Radical ethical relativism as presented in Ruth Benedict's Patterns of Culture not only denies absolute values, its thesis of the incommensurability of cultural configurations precludes possibility of any agreement on values by individuals of different cultures. This fact provides the proper perspective from which to judge the current controversy between radical and “modified” ethical relativists. A double error is committed, therefore, by those who contend that there has been no reduction of the “area of indeterminacy” existing between the ethical principles (...) of different cultures since, despite the newer developments in the social sciences, there are still no absolutely valid ethical values. Not only is the term “validity” vague and in need of reinterpretation, but, in assuming the denial of absolute values to be the distinguishing characteristic of radical relativism, they actually identify this theory with modified relativism. This brief paper attempts to prove the untenability of the denial of cross cultural agreement on ends and means by treating the question first, from the point of view of C. L. Stevenson's Dewey-inspired notion of the derivation of ends from means, and, second, from that of Stevenson's more original idea, complex ethical agreement. (shrink)

Modernity is Apocalyptic in essence. This assertion is stated nowhere in The Triumph of Human Empire by Rosalind Williams, nor in l’Apocalypse Joyeuse by Jean-Baptiste Fressoz. But it is everywhere on the pages of these books, which recount the ambivalence with which the project of Modernity and its technological feats has been received in specific times and places, notably nineteenth century Europe. Essence here is not to be understood as transcendental a-historical necessity, but as unfolding historical ontology. Despite contingencies, the (...) project of Modernity has continued to realise a secular ending of the world by continuing to conquer and destroy it.In The Triumph of Human Empire we encounter ambivalence through the biographies and works of three European writers, who employed the genre of romance to express their uneasiness with modern civilisation and progress: Jules Verne, William Morris and Louis Stevenson. Verne is perhaps the writer which we would least expect to have probl .. (shrink)

This Festschrift seeks to honor three highly distinguished scholars in the Department of Philosophy, University of Michigan: William K. Frankena, Charles L. Stevenson, and Richard B. Brandt. Each has made significant con­tributions to the philosophic literature, particularly in the field of ethics. Michigan has been fortunate in having three such original and productive moral philosophers serving on its faculty simultaneously. Yet they stand in a long tradition of excellence, both within the Department and in the University. Let us (...) trace that tradition briefly. The University of Michigan opened in 184l. lts Department of Literature, Science, and the Arts at first resembled a typical American college of that period, with religious and ethical indoctrination playing a central role in course offerings. But when Henry Tappan, a Presbyterian clergyman and Professor of philosophy, became President in 1852, he succeeded in shifting the emphasis from indoctrination to inquiry and scholarship. Though he was dismissed for his policies in 1863, Tappan's efforts to establish a broad and liberal curriculum prevailed. Michigan was to take its place among the leading educational institutions in this country, and to achieve an international reputation as a research center. Several past philosophers are worthy of mention here. George Sylvester Morris, an absolute idealist, joined the Department in 1881, having served from 1870 as Chairman of the Department of Modern Languages and Literature. He assumed the Chairmanship of Philosophy in 1884. (shrink)

It is widely held that for a life to be conferred meaning it requires the appropriate type of agency. Call this the agency requirement. The agency requirement is primarily motivated in the philosophical literature by the assumption that there is a widespread pre-theoretical intuition that humans have the capacity for meaning whereas animals do not; and that difference must come down to their agency or lack thereof. This paper aims to undercut the motivation for the agency requirement by arguing our (...) pre-theoretical intuitions actually run opposite; that animals, and even objects, can have meaningful lives/existences. The argument is twofold. First, I extend an existing argument for animals as having a capacity for meaning to objects. Second, I argue maintaining that only humans have the capacity for meaning results in the more counterintuitive upshot that all animals and objects have, by definition, meaningless existences. Since we pre-theoretically believe that anything can be meaningful—even things which by definition lack agency—then we have strong reason for being sceptical about an agency requirement for meaning in life. (shrink)

This insightful book explores the life and ideas of Italian Marxist theoretician Antonio Gramsci, and argues his work has considerable contemporary relevance when re-considering educational leadership in today's age of crises. This volume will be of pivotal interest to academics, researchers, and postgraduates in the fields of educational leadership, the sociology of education, and education policy and politics. Practitioners interested in educational leadership and social theory, and those active in social movements, may also find the book of use.

Objects of representation: Kant's Copernican revolution re-interpreted -- Synthetic unities of experience -- Three ways in which space and time might be said to be transcendentally ideal -- The given, the unconditioned, the transcendental object, and the reality of the past -- A theory of everything?: Kant speaks to Stephen Hawking -- Opinion, belief or faith, and knowledge -- Freedom of judgment in Descartes, Spinoza, Hume and Kant -- Six levels of mentality -- A Kantian defense of freewill.

Over six previous editions, Twelve Theories of Human Nature has been a remarkably popular introduction to some of the most influential developments in Western and Eastern thought. Now titled Thirteen Theories of Human Nature, this text continues to be an ideal introduction to human nature andintellectual history. This unique volume will engage and motivate students to consider how we can understand and improve both ourselves and human society.

NAVA TATVA SUTRA; on, THE NINE PRINCIPLES OK THINGS.... TATVA...

Contemporary literature on consciousness, with some exceptions, rarely considers the olfactory system. In this article the characteristics of olfactory consciousness, viewed from the standpoint of the phenomenal /access distinction, are examined relative to the major senses. The review details several qualitative differences in both olfactory P consciousness and A consciousness . The basis for these differences is argued to arise from the functions that the olfactory system performs and from the unique neural architecture needed to instantiate them. These data suggest, (...) at a minimum, that P and A consciousness are uniquely configured in olfaction and an argument can be made that the P and A distinction may not hold for this sensory system. (shrink)

In The Emergent Self, William Hasker joins one of the most heated debates in contemporary analytic philosophy, that over the nature of mind.