The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves. Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary philosophy. This is (...) the first book to introduce philosophy and theatre. It covers key topics and debates, presenting the contributions of major figures in the history of philosophy, including: what is theatre? How does theatre compare with other arts? theatre as imitation, including Plato on mimesis truth and illusion in the theatre, including Nietzsche on tragedy theatre as history theatre and morality, including Rousseau’s criticisms of theatre audience and emotion, including Aristotle on catharsis theatre and politics, including Brecht’s Epic Theatre. Including annotated further reading and summaries at the end of each chapter, Philosophy and Theatre is an ideal starting point for those studying philosophy, theatre studies and related subjects in the arts and humanities. (shrink)

Tom Stoppard is not the sort of playwright one might call anti-intellectual, yet he has persistently singled out the field of academic philosophy for special assault in his plays. Stoppard’s antipathy emerges from a history of contention between the theater and philosophy in England, one that originates in Friedrich Nietzsche’s Birth of Tragedy and its particular reception at the hands of George Bernard Shaw. Stoppard offers an apotheosis of this disputation in his 1972 farce Jumpers, which imagines a marriage between (...) a philosopher and an actress meant to demonstrate the superiority of the theater as a mode of speculative discourse. (shrink)

Abstract:Contenders for serious, let alone worthwhile, philosophical works consisting entirely of jokes are hard to find. Tom Stoppard's comedy Dogg's Hamlet, built from the materials of Ludwig Wittgenstein's Philosophical Investigations, might be one. Wittgenstein could only use previously acquired language to argue that social performance is a necessary prerequisite for the process of learning that meaningful language in the first place. But Stoppard's audiences can experience the inadequacy of a static, constative theory of language; then they can self-consciously undergo a (...) socialized process of meaningful language acquisition. And that new language allows new jokes; so: did Stoppard put the wit into Wittgenstein? (shrink)

Few stage plays have much to do with analytic philosophy: Tom Stoppard has written two of them—Rosencrantz and Guildenstern are Dead and Jumpers. The contrast between these, especially in how they involve philosophy, could hardly be greater. Rosencrantz does not parade its philosophical content; but the philosophy is there all the same, and it is solid, serious and functional. In contrast with this, the philosophy which is flaunted throughout Jumpers is thin and uninteresting, and it serves the play only in (...) a decorative and marginal way. Its main effect has been to induce timidity in reviewers who could not see the relevance to the play of the large stretches of academic philosophy which it contains. Since the relevance doesn't exist, the timidity was misplaced, and so the kid gloves need not have been used. Without doubting that I would have enjoyed the work as performed on the London stage, aided by the talent of Michael Hordern and the charm of Diana Rigg, I don't doubt either that Jumpers is a poor effort which doesn't deserve its current success. I shan't argue for that, however. I want only to explain why Jumpers is not a significantly philosophical play, before turning to the more important and congenial task of showing that Rosencrantz and Guildenstern are Dead is one. (shrink)

Tom Stoppard’s Rosencrantz and Guildenstern Are Dead is primarily a display of conceptual interrelationships of the same logical kind as might occur in an academic work of analytic philosophy. Its pyrotechnic show of jokes, puns and cross-purposes consists mainly in sparks thrown off by the underlying conceptual exploration. That philosophical insights are closely connected with jokes is a fact which Carroll exploited in Through the Looking Glass, a work which is brim-full of small-scale philosophy. Stoppard, unlike Carroll, works intensively at (...) a small cluster of intimately connected concepts. The central one is the concept of reality, and grouped around it are identity, memory, activity and death. One source of the play’s power - to move and disturb, as well as to amuse - is that these concepts are so important in our thinking about ourselves; but the power derives also from the sheer pertinacity and complexity and depth of the conceptual exploration. Although this can be felt by someone who does not fully realize what is going on, one’s experience of the play can be heightened, and the play made more illuminating and memorable, if one becomes consciously aware of its underlying structures. My aim here will be to make such an awareness available - both as a service (I hope) to readers who will subsequently encounter the play, and also as a defence of my judgment about what kind of play it is and how good it is of its kind. I shall write as though for readers who are ignorant of Stoppard’s play but not of Shakespeare’s. All quotations are from the Faber editions of the play. There will be no omissions within anything I quote, so any rows of ellipses in my quotations are Stoppard’s own. The chief personages are Rosencrantz and Guildenstern and “the Player” - the leader of the band of tragedians who perform for Hamlet the play within the play.. (shrink)

This paper attends to the curious affair of Jacques Derrida in Prague when he was arrested by the Czechoslovakian police on charges of drug smuggling. It reads two images by Valerio Adami and Nicolas Poussin, entitled, ‘The Massacre of the Innocents’, Tom Stoppard's play, Professional Foul about dissident philosophers in Prague, and a section from Ken McMullen's film Ghost Dance on Kafka. It turns around the question of what ‘innocence’ might mean in politics and reading.

This essay probes into the possibility of encountering the Deleuzian sense-event in four Tom Stoppard radio plays, Moon (1964), Boot (1964), Glad (1966) and Artist Descending A Staircase (1972). Itself an incorporeal – an occurrence of the interface – the wonderful and strange protagonist of Gilles Deleuze's 1969 Logic of Sense is approached in apophatic gestures, with a glimpse at the various vestiges it has left upon texts. Within this exercise in indirection, ‘empty forms’ present themselves as the texts’ circulating (...) words. Informed by and receiving infusions from two parallel flows of Deleuzian signifiers and signifieds, these entities are singled out as the texts’ pointers that open up a cleavage where the sense-event can issue forth. (shrink)

Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead” opens with a puzzling scene in which the title characters are betting on coin throws and observe a seemingly astonishing run of 92 heads in a row. Guildenstern grows uneasy and proposes a number of unsettling explanations for what is occurring. Then, in a sudden change of heart, he appears to suggest that there is nothing surprising about what they are witnessing, and nothing that needs any explanation. He says ‘…each individual coin spun (...) individually is as likely to come down heads as tails and therefore should cause no surprise each time it does.’ In this article I argue that Guildenstern is right – there is nothing surprising about throwing 92 heads in a row. I go on to consider the relationship between surprise, probability and belief. (shrink)

Tom Stoppard is justly praised by many for what are perceived as his technical skills as a dramatist—his wit, his seriousness, his mastery of parody and pastiche, his impressive control of dramatic structure. Stoppard earns his place as a giant of modern drama from these qualities. They, however, are not what concern me here. His plays are also in various ways riddled with philosophy. My purpose in this paper is to examine the claim that he is a philosopher's dramatist, rather (...) than a dramatist's dramatist or an ordinary thinking man's dramatist. I am not concerned with how far Stoppard himself as a matter of biographical fact may wish to make this claim, although Stoppard has made no secret of his fascination with Philosophy. I make the claim myself in order both to offer an interpretation of certain dramatic texts and to raise certain questions about philosophical method. I hope to show that to understand certain ways in which Stoppard's plays are philosophical is to appreciate something profound about the way in which philosophy and drama are akin—that is, I hope to make critical and philosophical points, not historical or biographical points. (shrink)

Tom Stoppard’s 1966 play (and 1990 movie) /Rosencrantz and Guildenstern are Dead/ is a metatext – as a text, it interprets, builds upon, and refers to another text, Shakespeare’s Hamlet. Similarly, David N. Reznick’s /The Origin then and now: An interpretative guide to the Origin of Species/ (Princeton UP, 2010) is also a metatext. In this review, I turn to the history of science to evaluate whether Reznick’s book shares three families of virtues with Stoppard’s play: (i) brevity and precision, (...) (ii) intrigue and appeal, and (iii) a genuine value-add to the original. (shrink)

Inspired by the work of prominent University of Notre Dame political philosophers Catherine Zuckert and Michael Zuckert, this volume of essays explores the concept of natural right in the history of political philosophy. The central organizing principle of the collection is the examination of the idea of natural justice, identified in the classical period with natural right and in modernity with the concept of individual natural rights. Contributors examine the concept of natural right and rights in all the manifold and (...) interdisciplinary dimensions associated with the Zuckerts’ oeuvre. Part I explores the theme of natural right in the ancient and medieval political philosophy of Plato, Xenophon, Aristotle, and St. Augustine. Part II examines the early modern break from the classical tradition in the work of Montaigne, Spinoza, Montesquieu, Locke, and Hegel as well as the legacy of the modern natural rights tradition as explored by Leo Strauss and Pope John Paul II. Part III treats the theme of natural rights from the Puritans through the Founding period in such figures as Thomas Jefferson and Gouverneur Morris and up to the Progressive era with Booker T. Washington and Theodore Roosevelt. Part IV addresses questions of natural justice in literature, including works of Euripides, Cervantes, Shakespeare, Edith Wharton, and Tom Stoppard. "In this collection compiled in honor of Catherine and Michael Zuckert, the contributors address a wonderful variety of serious issues in important literary and philosophic texts. Their topics range from Plato on piety to Stoppard on socialist utopianism, and from Aristotle and Augustine to Euripides, Locke, Hegel, Shakespeare, and Booker T. Washington. The volume stands as an impressive introduction to the liberal arts and a lively introduction to many great issues of liberalism, Christianity, justice, and liberty; it is also a tribute to the Zuckerts' breadth of study, teaching, and influence." —_Robert K. Faulkner, Boston College_. (shrink)

Through the use of some purposeful anachronisms, Tom Stoppard uses his 1993 play Arcadia to explore the effects on man's psyche of the transition from Newton's Laws to the laws of thermodynamics and from thermodynamics to chaos theory. However, remarkably similar reactions to these changes are also reflected in works from the actual time periods following these shifts in scientific understanding. Modernist literature is believed by many to reflect a sense of depression about the implications of the second law of (...) thermodynamics, which is exemplified in T. S. Eliot's 1922 poem The Waste Land. Likewise, the comfort provided by the revisions to thermodynamics made by chaos theory are reflected frequently in contemporary popular culture, such as in the current television series Numb3rs. Through the invocation of science, all three works suggest that man is uncomfortable with too much predictability and that comfort can instead be found in chaos and unpredictability. (shrink)

Preliminary expectoration -- Alas a dirty third: the logic of death -- Thomas Bernhard's rant -- Following Sebald -- Tickling the corpse: Tom Stoppard's memento mori -- Don Rickles's rant -- Too late, my brothers -- Re: Barth.

Voyage is the first part of The Coast of Utopia , Tom Stoppard's long-awaited and monumental trilogy that explores a group of friends who came of age under the Tsarist autocracy of Nicholas I, and for whom the term intelligentsia was coined. Among them are the anarchist Michael Bakunin, who was to challenge Marx for the soul of the masses; Ivan Turgenev, author of some of the most enduring works in Russian literature; the brilliant, erratic young critic Vissarion Belinsky; and (...) Alexander Herzen, a nobleman's son and the first self-proclaimed socialist in Russia, who becomes the main focus of this drama of politics, love, loss, and betrayal. In The Coast of Utopia , Stoppard presents an inspired examination of the struggle between romantic anarchy, utopian idealism, and practical reformation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Being a Moral Agent in Shakespeare's ViennaRobert B. PierceIn one sense we are all moral agents because we make decisions that in some degree take account of what we think we should do and what sorts of selves we want to be. But the problem of moral agency as more than just a theoretical set of philosophical issues, as the lived experience of acting morally in a contingent world, (...) is especially acute for those who set out deliberately to try to uphold some moral ideal, for the idealist in that popular sense of the term. In describing moral agency, philosophers may tend to exaggerate the importance of reflective rationality in the human task of being moral, elevating their own habits of mind into the apex of human striving, but at least the experience of the intellectual idealist is of a special kind, and as such it is an endlessly fascinating subject for artistic contemplation in fiction and drama. That interest raises the issue of what kind of text a philosophical play or novel is. Does it constitute a kind of argument for some set of ideas? Does it show how those ideas play out in lived experience? Or are there other possible ways for a text to count as philosophical?One may also ask why Shakespeare is a good subject for such an enquiry. He is not first and foremost a dramatist of ideas. Bernard Shaw and Tom Stoppard, for example, are far more likely to dramatize the encounter of ideas than he; but for a few years after 1599 or so, beginning with the creation of Brutus, Shakespeare seems to have devoted considerable attention to portraying how ideas impinge on the human experience, and especially to studying moral idealists. Leonato may doubt the importance of philosophical moralizing when he protests that "there was never yet philosopher / That could endure the toothache patiently" (Much Ado 5.1.35–36),1 but in Julius Caesar Brutus is determined to cure the toothaches of the Roman political world by the power [End Page 267] of thought and to govern his own life by the precepts of Stoicism. A group of Shakespeare's plays over the next few years are unusually idea-centered for him and are especially concerned with characters who try to apply moral ideas in the world. Hamlet with its intellectual protagonist comes to mind of course, but perhaps the most systematic exploration of idealists trying to live by their ideas is Measure for Measure. Angelo, Isabella, and the Duke set out on that project in a world that the play analytically divides into four environments for their moral testing: the court, the convent, the tavern-brothel, and the prison.The dramatic richness of this topic of practical ethics lies in how terribly difficult it is to live by a morality worthy of respect. Most of us share the admiration for Brutus's idealism in Antony's tribute, "This was the noblest Roman of them all" (5.5.68), but we may also share the irony, even contempt, in the sarcastic catchphrase of his oration, "Brutus is an honorable man" (3.2.84 and following). The tragedy of Brutus's fate emerges from the difficulties of living out any idealism in our tangled and terribly imperfect world. First, moral principles like the categorical imperative and the Golden Rule, admired character traits like constancy and benevolence, even intuitions (or, as it may be, divine inspirations) about duty do not apply themselves automatically and unambiguously to a decision how to act in a specific situation.2 What does treating human beings as ends, not means entail in your quotidian dealings with your wife, your boss, the dealer who sells you a newspaper? Second, rival values may conflict with a good you are trying to uphold. How can you devote yourself to your work and also give your family the love and attention they need? Third, the demands of the ideal may extend past the limits of your will power or even attention. How many teachers are as patient and understanding of the eightieth student paper as of the first? And, finally, living up to an ideal can be painful... (shrink)

In the middle of the 18th century, a new fad found its way into the gardens of England's well-to-do: building fake Gothic ruins. Newly constructed castle towers and walls looked like they were already falling apart, even on the first day of their creation. Made of stone, plaster, or even canvas, these "sham ruins" are often considered an embarrassing blip in English architectural history. However, Sham Ruins: A User's Guide expands the specific example of the sham ruin into a general (...) principle to examine the way purposely broken objects can be used both to uncover old truths and invent new ones. Along with architecture, work by Ivan Vladislavić, Tom Stoppard, Alain Mabanckou, Aleksei Fedorchenko, Michael Haneke, and Sturtevant is used to develop this thesis, as well as artifacts such as pre-torn jeans, fake histories, and broken screen apps. Using these examples, one of the key questions the book raises is: What is it that sham ruins ruin? In other words, if real ruins are ruins of what they actually are, then sham ruins should be considered ruins of what they are not. Thus sham ruins are about imposing new meaning where such meaning does not and should not exist. They also can show how things we think are functioning well are actually already broken. Sham ruins do this, and much more, by being lies, ruses, and embarrassments. This is what gives them the power with which we can think about objects in new, unintended ways. (shrink)

Global society is facing formidable current and future problems that threaten the prospects for justice and peace, sustainability, and the well-being of humanity both now and in the future. Many of these problems are related to science and technology and to how they function in the world. If the social responsibility of scientists and engineers implies a duty to safeguard or promote a peaceful, just and sustainable world society, then science and engineering education should empower students to fulfil this responsibility. (...) The contributions to this special issue present European examples of teaching social responsibility to students in science and engineering, and provide examples and discussion of how this teaching can be promoted, and of obstacles that are encountered. Speaking generally, education aimed at preparing future scientists and engineers for social responsibility is presently very limited and seemingly insufficient in view of the enormous ethical and social problems that are associated with current science and technology. Although many social, political and professional organisations have expressed the need for the provision of teaching for social responsibility, important and persistent barriers stand in the way of its sustained development. What is needed are both bottom-up teaching initiatives from individuals or groups of academic teachers, and top-down support to secure appropriate embedding in the university. Often the latter is lacking or inadequate. Educational policies at the national or international level, such as the Bologna agreements in Europe, can be an opportunity for introducing teaching for social responsibility. However, frequently no or only limited positive effect of such policies can be discerned. Existing accreditation and evaluation mechanisms do not guarantee appropriate attention to teaching for social responsibility, because, in their current form, they provide no guarantee that the curricula pay sufficient attention to teaching goals that are desirable for society as a whole. (shrink)

The world of disability theory is currently divided between those who insist it reflects a physical fact affecting life quality and those who believe disability is defined by social prejudice. Despite a dialogue spanning bioethical, medical and social scientific literatures the differences between opposing views remains persistent. The result is similar to a figure-ground paradox in which one can see only part of a picture at any moment. This paper attempts to find areas of commonality between the opposing camps, and (...) thus to rearrange the figures of the paradox at a fundamental level. The purpose is first to identify areas in which common ground can be achieved, and secondarily, to clarify the areas in which disagreement continues. While a general and unified theory of physical difference/disability is beyond the scope of this paper the result may advance that general goal. (shrink)

Imposing pure risks—risks that do not materialise into harm—is sometimes wrong. The Harm Account explains this wrongness by claiming that pure risks are harms. By contrast, The Autonomy Account claims that pure risks impede autonomy. We develop two objections to these influential accounts. The Separation Objection proceeds from the observation that, if it is wrong to v then it is sometimes wrong to risk v‐ing. The intuitive plausibility of this claim does not depend on any account of the facts that (...) ground moral wrongness. This suggests a close relationship between the factors that make an act wrong and the factors that make risking that act wrong, which both accounts fail to recognise. The Determinism Objection holds that both accounts fail to explain the wrongness of pure risks in a deterministic world. We then develop an alternative—The Buck‐Passing Account—that withstands both objections. (shrink)

Oleg B. Zaslavskii. The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not orientable, (...) the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a globalnature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz. (shrink)

To understand Self-Representationalism you need to understand its family. Self-Representationalism is a branch of the Meta-Representationalist family, and according to theories in this family what distinguishes conscious mental representations from unconscious mental representations is that conscious ones are themselves the target of a mental meta¬-representational state. A mental state M1 is thus phenomenally conscious in virtue of being suitably represented by some mental state M2. What distinguishes the Self-Representationalist branch of the family is the claim that M1 and M2 must (...) be the same token mental state, so a mental state is phenomenally conscious in virtue of suitably representing itself. This Self-Representationalist branch of the family divides into further branches, giving us specific implementations of the Self-Representationalist approach. But before asking whether we should adopt Self-Representationalism, and in what form, we should reflect on why Meta-Representationalism is an attractive family in the first place. After all, Self-Representationalist theories trade on their family name, claiming to deliver on the promises that drive the Meta-Representationalist approach. The two most important promises of Meta-Representationalism are: a) the promise of capturing the transitivity of consciousness and; b) the promise of rendering consciousness naturalisable. I discuss each in turn. (shrink)

I argue that it is possible for a subject to undergo experiences of emotional absence, during which she becomes aware of her own failure to be moved by the world around her. Just as a part of one's body feels numb when it manifestly fails to incur the ordinary sensory consequences of transactions at the surface of the skin, so an individual feels emotional absence when her affective condition manifestly fails to vary in predictable ways as she navigates her surroundings. (...) Experiences of emotional absence, such as feeling numb with shock or grief, feeling unamused, or feeling fearless, are not simply flat or neutral states of awareness, but can bear psychological and epistemic significance for the agent. (shrink)

In this thesis I investigate the theoretical possibility of a universal method of prediction. A prediction method is universal if it is always able to learn from data: if it is always able to extrapolate given data about past observations to maximally successful predictions about future observations. The context of this investigation is the broader philosophical question into the possibility of a formal specification of inductive or scientific reasoning, a question that also relates to modern-day speculation about a fully automatized (...) data-driven science. I investigate, in particular, a proposed definition of a universal prediction method that goes back to Solomonoff and Levin. This definition marks the birth of the theory of Kolmogorov complexity, and has a direct line to the information-theoretic approach in modern machine learning. Solomonoff's work was inspired by Carnap's program of inductive logic, and the more precise definition due to Levin can be seen as an explicit attempt to escape the diagonal argument that Putnam famously launched against the feasibility of Carnap's program. The Solomonoff-Levin definition essentially aims at a mixture of all possible prediction algorithms. An alternative interpretation is that the definition formalizes the idea that learning from data is equivalent to compressing data. In this guise, the definition is often presented as an implementation and even as a justification of Occam's razor, the principle that we should look for simple explanations. The conclusions of my investigation are negative. I show that the Solomonoff-Levin definition fails to unite two necessary conditions to count as a universal prediction method, as turns out be entailed by Putnam's original argument after all; and I argue that this indeed shows that no definition can. Moreover, I show that the suggested justification of Occam's razor does not work, and I argue that the relevant notion of simplicity as compressibility is already problematic itself. (shrink)

Putnam construed the aim of Carnap’s program of inductive logic as the specification of a “universal learning machine,” and presented a diagonal proof against the very possibility of such a thing. Yet the ideas of Solomonoff and Levin lead to a mathematical foundation of precisely those aspects of Carnap’s program that Putnam took issue with, and in particular, resurrect the notion of a universal mechanical rule for induction. In this paper, I take up the question whether the Solomonoff–Levin proposal is (...) successful in this respect. I expose the general strategy to evade Putnam’s argument, leading to a broader discussion of the outer limits of mechanized induction. I argue that this strategy ultimately still succumbs to diagonalization, reinforcing Putnam’s impossibility claim. (shrink)

Since 1989, widely circulating statistics on gay teen suicide in the United States have acted as catalysts for institutional reforms, scientific research, and the creation of an identity category “gay youth.” While one figure has been replicated scientifically, these numbers originated not from a scientific research study but as risk estimates developed by a social worker and published in a government document. Many people within the public took up these original numbers, attributing their author the status of scientific researcher. In (...) effect, the numbers became “black boxed,” often traveling without citation. Drawing on Ian Hacking’s “dynamic nominalist” perspective, this article utilizes interviews with the author of these statistics and other key claimants, along with textual analysis, to trace the origins, uptake, and effects of these figures. While making vital policy contributions, the numbers have led to some ironic consequences including the fostering of gay youth identification with suicide as a potential correlate of their identity and the potential antigay redeployment of decontextualized numbers. They have also led to a reaction in the form of “resilience” narratives. (shrink)

Are democratic ideals better served by elections or sortition? Is the ideal national legislature one that is elected, chosen by lot, or some combination thereof? To answer these questions properly, it is necessary to perform a careful, balanced, and systematic comparison of the strengths and weaknesses of each. To do so, this article uses foundational democratic values—political equality, popular control, deliberative nature, and competency—as measuring sticks. On the basis of these values a purely elected legislature is compared with a purely (...) sortition one, on the assumption that each has the full decision-making powers normally possessed by national legislatures. This big picture will provide a clearer view of the strengths and weaknesses of the respective systems and their trade-offs, as well as the open questions that remain. (shrink)

This series celebrates the Bodleian Library's acquisition of Tom Phillips's archive of over 50,000 photographic postcards dating from the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, 'ordinary' people could afford to own their portraits. Each title in this series is thematically assembled and designed by the artist, the covers featuring a linked painting specially created for each title from Tom Phillips's signature work, A Humument.With an illuminating foreword by Eric (...) Musgrave, 'Menswear' presents postcards of men in all manner of outfits, whether formal, practical or casual, dating from around 1900 up to c. 1949. Most of the subjects are posing for portraits, displaying both their individual style and an interpretation of the fashions of the time. The rich variety of accessories on display includes ties, gloves, pocket squares, walking sticks, canes, boutonnières and spats. (shrink)

A discussion of the connection between activism and academia in bioethics, highlighting the author’s own trajectory, exploring the extent to which academics have an obliation to be ‘judges’ rather than ‘barristers’ (as explored by Jonathan Haidt) and asking questions about the relationship of disability to positions in bioethics.

A particular family of imagination-based epistemologies of possibility promises to provide an account that overcomes problems raised by Kripkean a posteriori impossibilities. That is, they maintain that imagination plays a significant role in the epistemology of possibility. They claim that imagination consists of both linguistic and qualitative content, where the linguistic content is independently verified not to give rise to any impossibilities in the epistemically significant uses of imagination. However, I will argue that these accounts fail to provide a satisfactory (...) basis for an epistemology of possibility as they fall victim to, what I call, the problem of modally bad company. In particular, I will argue that there is a deep methodological problem that these accounts face: to deliver the significant epistemology of possibility that they promise, they have to rely on problematic prior knowledge of necessities. (shrink)

The whole brain-death criterion of death now enjoys a wide acceptance both within the medical profession and among the general public. That acceptance is in large part the product of the contention that brain death is the proper criterion for even a conservative definition of death – the irreversible loss of the integrated functioning of the organism as a whole. This claim – most recently made in the report of the Presidential Commission and in a comprehensive article by James Bernat (...) and others – is based upon a series of fallacious arguments. Chief among these is the argument that whole brain-death is the proper criterion for the conservative definition because the brain is the organ that integrates the rest of the organism. A central part of the paper shows that this argument rests upon a confusion between a function and the mechanism that performs it, and replies to the defenses that the Presidential Commission makes on this point. The concluding portion of the paper argues that this issue is not merely of academic interest, but has the potential for undermining the present consensus that supports the use of whole brain-death criteria. * Keywords: brain-death, definition of death, determination of death * I would like to thank Howard Brody and Bruce Miller for helpful suggestions and criticisms. CiteULike Connotea Del.icio.us What's this? (shrink)

The paper looks at how Tsong kha pa, mKhas grub, and Go rams pa understood the third and fourth lemmas in the tetralemma, “both A and B” and “neither A nor B,” respectively.

This paper examines the contentious and confused notion of anthropomorphism. Beginning with an overview of the term's etymology and present use, it examines the arguments of those who believe it to be unscientific and demeaning, and those who believe it to be an inevitable and useful pragmatic strategy. The German philosopher Heidegger raises the more serious objection, though, that as a concept anthropomorphism is not even meaningful. Supplementing his argument with examples drawn from evolutionary theory and elsewhere, the paper concludes (...) that use of the term, anthropomorphism, commits one to an undesirable anthropocentrism, which shackles thought concerning the possible relationships between human and nonhuman animal beings. (shrink)

The evidence for rationalisation, which motivates the target article, is exaggerated. Experimental evidence shows that rationalisation effects are small rather than gross and, I argue, largely silent on the pervasiveness and persistence of the phenomenon. At least some examples taken to show rationalisation also have an interpretation compatible with deliberate, knowing reason-responsiveness on the part of participants.

We are living through a demographic transition from a world in which there were lots of young people and very few older adults to one in which the numbers in these age groups are becoming more evenly balanced. One reason for this is that more of us are living into our seventies, eighties, nineties, and beyond. That is the good news. Unfortunately, the chance of developing chronic illnesses (including diabetes, arthritis, and dementia) is typically higher for people in these older (...) age groups than for those who are younger. Because we do not know how to cure these illnesses, many of us will spend at least some of this extra time with one or more chronic illness. While we are more likely than in the past to live into older age, we are likely to be living with illness when we get there. That raises a challenge: how should we respond to this change? (shrink)

The Institute of Social Research, from which the Frankfurt School developed, was founded in the early years of the Weimar Republic. It survived the Nazi era in exile, to become an important centre of social theory in the postwar era. Early members of the school, such as Adorno, Horkheimer and Marcuse, developed a form of Marxist theory known as Critical Theory, which became influential in the study of class, politics, culture and ideology. The work of more recent members, and in (...) particular Habermas, has received wide attention throughout Europe and North America. Tom Bottomore's study takes a new and controversial look at the contributions of the Frankfurt School to modern sociology, examining several issues not previously discussed elsewhere. He discusses the neglect of history and political economy by the critical theorists, and considers the relationship of the later Frankfurt School to the radical movements of the 1960s and the present time. His critical analysis makes the school's writers accessible, through an assessment of their work and an exploration of the relationship of Critical Theory to other forms of sociological thought, especially positivism and structuralism. (shrink)

Transhumanism advances an ideology promising a positive human advance through the application of new and as yet unrealized technologies. Underlying the whole is a libertarian ethos married to a very Christian eschatology promising a miraculous transformation that will answer human needs and redress human failings. In this paper, the supposedly scientific basis on which transhumanist promises are built is critiqued as futurist imaginings with little likelihood of actualization. Transhumanists themselves are likened to the affable con man Professor Harold Hill who, (...) in The Music Man, describes as dire social problems whose solution is a youth band he seeks to sell but has no intention of building. Even were some of the transhumanist imaginings to be realized, I argue, the result would be a dystopia in which the few received benefits denied to the many. In advancing imaginary technologies as a solution to human needs, transhumanists and their bioethical fellow travelers handily avoid discussion of or advocacy for the kind of pedestrian social actions that demonstrably could achieve many of their purported goals. So their enthusiasms, I conclude, are not merely fanciful but damaging to the humanist goals they pretend to advance. (shrink)

Depression is a highly recurrent disorder with limited treatment alternatives for reducing risk of subsequent episodes. Acceptance and commitment therapy (ACT) and attention bias modification (ABM) separately have shown some promise in reducing depressive symptoms. This study investigates (a) if group-based ACT had a greater impact in reducing residual symptoms of depression over a 12-month follow-up than a control condition, and (b) if preceding ACT with ABM produced added benefits. This multisite study consisted of two phases. In phase 1, participants (...) with a history of depression, currently in remission (N= 244), were randomized to either receive 14 days of ABM or a control condition. In phase 2, a quasi- experimental design was adopted, and only phase-1 participants from the Sørlandet site (N= 124) next received an 8-week group-based ACT intervention. Self-reported and clinician-rated depression symptoms were assessed at baseline, immediately after phase 1 and at 1, 2, 6, and 12 months after the conclusion of phase 1. At 12-month follow-up, participants who received ACT exhibited fewer self-reported and clinician-rated depressive symptoms. There were no significant differences between ACT groups preceded by ABM or a control condition. There were no significant differences between ACT groups preceded by ABM or a control condition. Group-based ACT successfully decreased residual symptoms in depression over 12 months, suggesting some promise in preventing relapse. (shrink)