Members of the Clinical Ethics Consultation Affairs Standing Committee of the American Society for Bioethics and Humanities present a collection of insights and recommendations developed from their collective experience, intended for those engaged in the work of healthcare ethics consultation.

In lieu of an abstract, here is a brief excerpt of the content:From Parnassus to EdenChristopher McDonoughFor Rebekah SmithIn these pages some seven years ago, Robert Renehan (1992) discussed the passage from book 19 of the Odyssey in which the young Odysseus’ cousins sing a healing incantation over his wound in the wilderness of Mount Parnassus. 1 Renehan was specifically interested in bringing to light the Old Irish comparanda, so as to display the Indo-European roots of this particular form of (...) magical healing; he was clear in stating, nonetheless, that such practices are found in many other parts of the world. To encounter this custom, however, it is not necessary to study ancient Ireland or Greece, as I discovered by surprise in class one day.When lecturing on the Odyssey in the past, I have always enjoyed lingering over this particular scene, presenting to students Erich Auerbach’s ideas on mimesis as well as more general folkloric material. 2 In addition to the Irish evidence adduced by Renehan, I have usually mentioned anecdotes about the brauchers (wizards) of the Pennsylvania Dutch, some of whom could still blood by chanting—even over the telephone (see Dorson 1964, 115). Thus it was, in the fall of 1995, that I was giving a guest lecture on book 19 for a classical mythology class at the University of North Carolina at Greensboro. I had just finished reciting some of the stories above, when a student raised his hand to ask, “Is that anything like talking out fire?” Before I could respond, another student also spoke up. “I was thinking that, too,” she said.A few others were nodding their heads in recognition, though the majority of the class looked perplexed. I certainly was, since I had no idea what they were talking about. The first student explained that he [End Page 297] was from Eden, North Carolina, a Piedmont town near the Virginia border; that, in this area, there were old women who could talk out fire; that, if a person had been burned, such a woman could be hired to speak to the fire and convince it to leave the body; that his own grandmother was such a woman; and that he himself as a child had had a burn talked out of his hand, which hand—the very hand he had raised!—he now raised again as dramatic testimony of the treatment. A few other students said that they too were familiar with the custom, though none had quite so intimate a familiarity as he.In the days that followed I did a little research on the topic, fearing that I may have been hoodwinked by some true son of crafty Autolykos. But his story checked out: the phenomenon of “talking the fire out of a burn” is well attested in North Carolina and throughout the South. 3 While folklorists have collected many accounts of this type of healing, perhaps the most vivid description is given by Southern writer Harry Crews. In A Childhood: The Biography of a Place (1978 = 1993, 17–170), a memoir of his upbringing in Depression-era rural Georgia, the author relates that, while playing as a boy, he had fallen into a cast-iron tub filled with boiling water for skinning hogs; over two-thirds of his body was scalded and, he recalls, the skin of his left hand came off “like a wet glove.” His family was too remote and too poor for a hospital trip, and had to rely on some makeshift arrangements set up by the local doctor. Shortly thereafter, however, they were visited by a rough character named Hollis Toomey, known throughout the area for his ability to talk out fire. Crews recounts what happened next:Hollis Toomey’s voice was low like the quiet rasping of a file on metal. I couldn’t hear most of what he had to say, but that was all right because I stopped burning before he ever started talking. He talked to the fire like an old and respected adversary, but one he had beaten consistently and had come to beat again. I don’t remember him once looking at my face while he explained: “Fire, this boy is mine. This bed is mine... (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Slaves and the Generals of ArginusaePeter HuntIn the second half of 406 B.C. the Athenians made two shocking decisions. They freed the slaves who had fought in the battle of Arginusae and gave them citizenship, and they condemned to death their victorious generals. I suggest that these two events were related. Specifically, I would like to argue, first, that the competition for rowers to man the huge navies (...) of this period had extended even to slaves. The promise of freedom was intended to motivate the slaves: the grant of Athenian citizenship was an attempt to keep them rowing for Athens rather than deserting and ending up in the enemy's navy. Second, I would like to consider the trial of the generals in the context of this costly, divisive, and controversial policy. A priori considerations, historical parallels, and a few admittedly tenuous pieces of direct evidence suggest that their policy of rewarding the slaves contributed to the generals' unpopularity that made them so vulnerable to prosecution.Slaves to CitizensPassages in Aristophanes' Frogs and a scholiast's quotation of Hellanicus tell us that the slaves who fought in the battle of Arginusae were given freedom and citizenship. Most historians believe that the Athenians freed these slaves,1 but, given Athenian exclusiveness-manifest in Pericles' citizenship law-some doubt that they would have allowed a large group [End Page 359] of slaves to become citizens.2 The evidence, however, indicates that this was exactly what happened.Frogs won first prize at the Lenaean festival of 405-406, about six months after the Athenian naval victory at Arginusae. Early in the play, Dionysus and his slave Xanthias are traveling to Hades. When Dionysus mocks Xanthias for complaining about the load he is carrying, Xanthias exclaims:Dash it all, why wasn't I in that naval battle? Then I could really and truly tell you to go to blazes!(Ar. Ran. 33)3Fighting in the naval battle would have freed Xanthias from carrying Dionysus' baggage and allowed him to tell his master off. A bit later, Charon refuses to ferry Xanthias to Hades:I don't take slaves, unless they fought in the life-or-death naval battle.(190-91)4Again, slaves who have fought in a naval battle are treated differently from other slaves. From these passages alone, one might guess that the slaves who fought in some naval battle-Arginusae being the most recent and probable one-were given their freedom: they did not have to serve their masters and could ride with Charon rather than walking around the lake to get to Hades.Ian Worthington argues against this, the traditional reading of these lines. Xanthias' regret at not serving in the naval battle (33) is not that he would be then be free, but rather that then he would be dead and not forced to serve Dionysus.5 Aristophanes, however, was addressing an [End Page 360] audience many of whom had either fought at Arginusae or had relatives who had. We may associate Arginusae primarily with the deaths of the unrescued crews, but in 405 Arginusae was considered a successful relief mission and a great victory. Aristophanes was addressing the living victors, for whom "to fight at the naval battle" could not serve as shorthand for "to die." Worthington's reading of lines 190-91 is also less convincing than the traditional interpretation. He claims that those who "fought in the life-or-death naval battle" are the men whose drowning after the battle gave rise to the trial of the generals. The text gives no hint or suggestion that Charon is talking about this subset of the sailors who fought in the battle. Rather, Charon refers to another subset of those who fought in the battle, the slaves: "I don't take slaves, unless...." So we should stay with the traditional interpretation and the scholia to Frogs 33, which, although not an independent source, accords with our reading of Aristophanes: ("[I]n the previous year, in the archonship of Antigenes, the Athenians... won a naval battle around Arginusae and freed the slaves who had fought along with them").6Our first evidence for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Lessons From my Life's WorkJames BradleyAlmost thirty years ago, I entered the caring profession as an Auxiliary Nurse, on a temporary basis, as a prelude to taking formal training as a Registered Nurse. Since then I have had many titles, held many positions and roles and worked in many different care settings. I never did take that RN training but that temporary job became my life's work!I am a (...) carer. A hands-on, at-the-bedside, hand-holding, bed-bathing, carer. Not only that, I am a male carer. I am not a failed doctor, I am not "hired muscle," nor am I gay and I certainly didn't enter the profession to be amongst so many women, as the stereotypes would suggest.Put simply, I care for people and do for them what they would do for themselves under normal circumstances, were they able to do so. I can cook, clean, sew, iron, and make beds, bathe, toilet and many other things besides. Not only that, I can do more than one simultaneously. Yes, I am a straight, male carer who can multitask, which is perhaps why so many people have difficulty in understanding people like me!?Every day, come rain, hail or shine; morning, noon and night, I care for others, often with as much compassion and love as if they were my own family. Once you have built up a relationship with a client or patient and his or her relatives, they can seem as close as family. The anomaly in nursing these days though, is that most RNs don't get the time to "be" a carer to the same extent that I do. That is the main reason why I made the decision to not pursue RN training, as per my original plan.Internal and external politics, in addition to the "culture of litigation," has created a growing chasm between what nurses should be, what they want to be and what they actually are in fact. Many RNs joined the profession to be what I am now, only to find themselves bogged down in paperwork, mandatory annual education and undertaking tasks which once were the domain of junior medical staff. This is not a criticism of those RNs, but an observation on the nature of care, from the grassroots level. As those RNs are pulled away from providing basic care, who is left to fill the void created? That is where my peers and I come in!There are literally thousands of people like me across the country doing the exact same thing I do every day. Yet, as stated, I am in a minority, for I am a male carer in a female-dominated environment. That brings a whole set of differences in itself, some of which should never exist in a modern care environment and wouldn't, were they pertinent to females rather than males.For example, imagine a male doctor telling an RN to "make the coffee" simply because she is female and used to being in the kitchen. Just consider how much upset that would create, with claims of sex discrimination and lack of professionalism. Quite rightly so, too. Then consider why it seems [End Page 135] acceptable for females to expect certain responsibilities be undertaken by males simply because "men are stronger than women" (not true either, based on some of the people I have worked with over the years!). These double standards rise up infrequently, thankfully, but the fact that they exist at all says much about the nature of formal RN training.I was surprised at the job, initially, at how managers, education departments, etc. failed to recognize males in the profession—Florence Nightingale and her crew have a lot to answer for! It's even worse to see that discrimination against males still exists in some places, and by some people (who would claim to be "professionals") even today. There is no place in the Care Industry for those with such biased perceptions because, if they can hold such views about their colleagues, one wonders how they feel about their patients. Especially patients who may be challenging.Sometimes patients' families can be... (shrink)

Everywhere I go, I'm asked if I think the universities stifle writers. My opinion is that they don't stifle enough of them. ---Flannery O'Connor, Mystery and Manners, p. 84, as quoted by Frederick Crews, The Critics Bear it Away, pp. 143--144..

In lieu of an abstract, here is a brief excerpt of the content:Why Poe?Why Not Peirce?Roger SeamonFrederick Crews has twice tried to mock deep interpretation to death, but it won't work. There is, as he himself says, "a desperate need to root around and 'find' some redeeming features of Pooh to hang on to," and thus The Pooh Perplex did not, and Postmodern Pooh will not, put an end to the love affair between literary interpreters and deep meanings.1 The opposition (...) of Plato and Aristotle did not do it in the ancient world,2 and Dr. Johnson was still protesting two millennia later: "They see with great clearness whatever is too remote to be discovered by the rest of mankind, but are totally blind to what lies immediately before them. They discover in every passage some secret meaning, some remote allusion, some artful allegory... which no other reader ever suspected" (Rambler, p. 176). Early in the last century academic critics tried to resist the practice within academe, but they too failed, and Crews himself only gave it up after writing one of the best works of the genre, The Sins of the Fathers.3Disbelieving in literary deep meanings is roughly the equivalent of being an atheist. We have a strong propensity to find them in both natural and cultural phenomena. Stars and entrails are interpreted as symbols of a deeper reality, and we create such devices as the I Ching and the Tarot deck to gain entrance to a hidden world of meaning. Dreams, which straddle nature and culture are, perhaps, the most common object upon which to exercise the impulse, and Hayden White reminds us that this propensity has also been part of our intellectual traditionfrom the time that Plato set the world of ideas over against the world of things and Aristotle set the contemplative life over against the active life as end to means. This Absurdist moment [White is speaking about post-structuralist [End Page 256] literary interpretation] was potentially present from the beginning of modern European humanism, with its gnostic bent, its celebration of scholarship as an end in itself, its notion of privileged readers enjoying the status of priests interpreting the book of life. It was potentially present in modern Western philosophy, with its insistence that things are never what they appear to be but are manifestations of noumenal essences whose reality must be supposed but whose "natures" can never be known.4We are often not content with surface meaning in life and texts, but wish to find what Paul Tillich calls, none too modestly, "ultimate reality," which "characterizes the whole appearing world as non-ultimate, preliminary, transitory and finite," and "it is the awareness of the deceptive character of the surface of everything we encounter which drives one to discover what is below the surface."5There is, however, an oddity that may offer non-believers in deep interpretation some consolation. Philosophical texts, which share many characteristics with literary ones (see below, p. 4, for a discussion of the relevant similarities), are almost wholly immune from deep interpretation. There is no hope for us skeptics that literary deep interpreters will abandon their trade, so all we can do is console ourselves with trying to understand why our rich and beloved surfaces are so often abandoned for the very dubious depths. Crews says that interpreters "yearn to have their 'values' validated by books—the killer app of the 1400s" (Postmodern Pooh, p. 136); yes, but why don't other disciplines, such as history and philosophy, engage in the same practice? What is it about literature that makes it vulnerable? Why, in particular, are philosophical texts almost totally immune to such interpretation? As my title puts it, why Poe, why not Peirce?But why just Poe and Peirce, philosophy and literature, in the first place? There are, of course, many other kinds of discourse, but literary and philosophical texts have an especially intimate relationship. First, they have a canonical status that, for example, history no longer does, and it is the canon that attracts hermeneutic attention. Students of philosophy and literature learn a canon—or did until recently, and that is not true of modern historians, psychologists, and economists. Second... (shrink)

Christopher Columbus did not know, on October 12, 1492, that he had reached a new world. Rather he believed, along with his crew, that he had crossed the ocean separating western Europe from east Asia; or, at the very least, that they were nearing the rich lands described by Marco Polo, which the Genoan had read about and his crew knew of, at least by reputation. In short, Columbus's ideas about the land he had just reached were considerably more inexact (...) than those that Fernão d'Ulmo - that is to say, the Flemish explorer Ferdinand Van Olmen, Commander-Grantee in the service of João II, who presided at Terceira des Açores - had flaunted before the King. Indeed d'Ulmo was to play a more important role in the history of Portuguese discoveries than did Prince Henry the Navigator himself. In 1487, the year in which the great Portuguese sovereign was deciding between three possible routes to the Indies, d'Ulmo (as he is named in a royal diploma, dated July 24, 1486), or de Olmos as he is called in Las Casas's Historia de Indias, had proposed to the King that he “dar achada huûa grande ylha ou ylhas o terra firme per costa que se presume ser a ylha das Sete Cidades.” His proposal was thus to undertake a voyage to the Antilles, where the cartographers of that time placed the Isle of the Seven Cities, and where d'Ulmo conjectured that a neighboring continent (terra firme) might be located. Columbus himself returned from his voyage five years later. In the meantime, d'Ulmo had perished, perhaps having reached this continent whose existence he - but not Columbus - had foreseen. As to the history of the discovery of America: even if we don't know whether d'Ulmo reached it, we do know that Columbus was unaware that he himself had. (shrink)

We consider the complex interactions between rape culture and epistemology. A central case study is the consideration of a deferential attitude about the epistemology of sexual assault testimony. According to the deferential attitude, individuals and institutions should decline to act on allegations of sexual assault unless and until they are proven in a formal setting, i.e., a criminal court. We attack this deference from several angles, including the pervasiveness of rape culture in the criminal justice system, the epistemology of testimony (...) and norms connecting knowledge and action, the harms of tacit idealizations away from important contextual factors, and a contextualist semantics for 'knows' ascriptions. (shrink)

It is no secret that various versions of logical empiricism argued for the importance of unified science. Carnap was a proponent of unity of science views, although he expressed this in different idioms at different times. In the Aufbau (1928) he spoke of the unity of the object domain secured through definability in the constitutional system, in his physicalist period he argued that a physicalist language could serve as the universal language of science, and in his mature philosophical work he (...) investigated a variety of meanings that might be attached to reductionist projects for unifying various scientific fields. Our essay focuses less on Carnap’s several proposals than on a prior interpretive question: what was philosophically at stake for Carnap in the question of the unity of science? We begin with some suggestions in Carnap’s 1963 Intellectual Autobiography, where he calls unity of science “one of the main tenets of our general philosophical conception” and one in which Neurath’s emphasis on the “interdependence of all decisions … made a strong impression” on him. We follow Carnap in the suggestion that an account of his approach to unity of science does not take us into questions of unity of nature but rather of the scientific attitude and the unity of reason. (shrink)

We suggest that philosophical accounts of epistemic effects of diversity have given insufficient attention to the relationship between demographic diversity and information elaboration, the process whereby knowledge dispersed in a group is elicited and examined. We propose an analysis of IE that clarifies hypotheses proposed in the empirical literature and their relationship to philosophical accounts of diversity effects. Philosophical accounts have largely overlooked the possibility that demographic diversity may improve group performance by enhancing IE, and sometimes fail to explore the (...) relationship between diversity and IE altogether. We claim these omissions are significant from both a practical and theoretical perspective. Moreover, we explain how the overlooked explanations suggest that epistemic benefits of diversity can depend on epistemically unjust social dynamics. (shrink)

Years ago, before Arnoldian poetic touchstones had become quite as unpopular as they are now, I and my fellow college undergraduates found a touchstone of sorts in a poem by Edna St. Vincent Millay. The cherished line read:Plato alone looked upon beauty bare.For us, this line became the touchstone, not of poetic sublimity but of being poetic, which is to say of attaining a consummate inane pretentiousness in poetic diction and intellectual attitude alike. Millay, we thought, had done it once (...) and for all.Today, of course, nobody has any use for touchstones, and if we erstwhile undergraduates were to reread Millay we might well come away feeling ashamed of our former arrogance, juvenile conceit, and no doubt sexism. Still, Millay’s line has a memorably vacuous, oracular ring to it. That is the ring I keep hearing in Gerald Bruns’s “Stanley Cavell’s Shakespeare” . “Cavell … alone perhaps with Martin Heidegger, has a sense of what is at stake in this quarrel [between philosophy and poetry]” . “Exposure to reality is what happens in Hamlet, although it occurs nowhere so powerfully as in Lear” . “This was the later Heidegger’s idea: poetry … puts everything out of the question” . “The face, like the world , requires me to forego knowing” . “Proving the existence of the human proved to be a separate problem that did not get clearly formulated until Mary Shelley’s Frankenstein and E. T. A. Hoffmann’s ‘The Sandman’” . Philosophers and cultural historians may make what they will of these vatic disclosures, but it may strike those who study Shakespeare that Bruns is recycling lugubrious clichés about Hamlet and Lear while simultaneously upping the philosophical ante for them. This, however, is roughly the procedure that Bruns wants to pass off as Cavell’s. Jonathan Crewe, professor of English at Dartmouth College, is the author of Trials of Authorship: Anterior Forms and Poetic Reconstruction from Wyatt to Shakespeare. (shrink)

The present disarray of psychoanalytic criticism is no doubt a cause for satisfaction among people who never cared for "deep" interpretation and who now feel confirmed in their resolution to allow literature to speak for itself. The only way to do that, however, is to remain silent—a sacrifice beyond the saintliest critic's power. To be a critic is precisely to take a stance different from the author's and to pursue a thesis of one's own. Among the arguments it is possible (...) to make, reductive ones are without a doubt the trickiest, promising Faustian knowledge but often misrepresenting the object of inquiry and deluding the critic into thinking he has cracked the author's code. To forswear all reductions, however, is not the answer: that is the path of phobia. A critic can avoid reductionism, yet still give his intellect free rein, only by keeping his skepticism in working order. If psychoanalysis, originally the most distrustful of psychologies, has by its worldly success and conceptual elaboration become a positive impediment to skepticism, we need be no more surprised than Freud himself would have been at such all-too-human backsliding. A critic's sense of limits, like Freud's own, must come not from the fixed verities of a doctrine but from his awe at how little he can explain. And that awe in turn must derive from his openness to literature—from his sense that the reader in him, happily, will never be fully satisfied by what the critic in him has to say. Frederick Crews has written books on James, Forster, Hawthorne, and Christopher Robin. He is professor of English at the University of California at Berkeley. The present essay is a chapter from a new book, Out of My System: Psychoanalysis, Ideology, and Critical Method. (shrink)

Erdelyi's “unified theory of repression” attempts to rehabilitate psychoanalytic doctrine by exaggerating its compatibility with the findings of cognitive science. In addition, Erdelyi treats Freud's writings as holy writ, any portion of which can be quoted to prove a point. He also relies on a long-discredited account of Freud's “seduction theory” and ignores important links between Freudian assumptions and our recent recovered memory movement.

Using Fredric Jameson’s theory of the ideologeme to trace representations of working- and white working-class characters through a selection of contemporary literary texts, this article shows how t...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:After Extinction ed. by Richard Grusin, and: Anthropocene Poetics: Deep Time, Sacrifice Zones and Extinction by David FarrierChris CrewsRichard Grusin, editor. After Extinction. University of Minnesota Press, 2018. 272pp.David Farrier. Anthropocene Poetics: Deep Time, Sacrifice Zones and Extinction. University of Minnesota Press, 2019. 176pp.Thinking Critically and Poetically with the AnthropocenePublished within a year of each other, Richard Grusin’s edited collection, After Extinction, and David Farrier’s Anthropocene Poetics offer (...) two valuable perspectives on the themes of extinction and the Anthropocene. Most readers are likely familiar with some version of the Anthropocene by now, and its usage in these books (with a few exceptions) follows a common refrain in the humanities and social sciences, where it is used as an umbrella term to describe a wide range of (mostly negative) impacts to the Earth associated with industrial civilization and human activities.The topic of extinction is a much older issue, but increasingly frequent (and alarming) reports about biodiversity loss and extinction from bodies like the United Nations, combined with activism from groups like Extinction Rebellion, have raised its profile. Elizabeth Kolbert’s 2014 book The Sixth Extinction: An Unnatural History, which performs a sort of Derridean hauntology throughout the pages of After Extinction, further reinforced this trend. As Richard Grusin notes in his Introduction to After Extinction, the book emerged from a conference hosted by the Center for Twenty-First Century Studies at the University of Wisconsin-Milwaukee which focused on the question of what comes after extinction. Each chapter is thought-provoking, but at times they sat uneasily together, producing a sort of Chthulucenic cacophony drawn from multiple disciplines and themes, from entangled humanism and the power of photography to a rethinking of disability and Indigenous languages in the Anthropocene. [End Page 156]I found David Farrier’s Anthropocene Poetics harder to pin down, despite being a more cohesive text. The book offers a series of ecocritical musings that engage with a series of poets and authors whose work Farrier uses to draw out a poetic imagination of the Anthropocene. Farrier develops this Anthropocene poetics through a dizzying array of textual and artistic examples that draws inspiration from queer ecology and New Materialism (e.g., Elizabeth Grosz, Timothy Morton, Jane Bennett, Quentin Meillassoux) to problematize the liminal spaces and borders between human and non-human agencies and affect, animacies and intimacies, while suggesting that poetry is well suited (perhaps best suited?) to help us rethink our relationship to deep time and geologic agency. While reading Farrier’s book, I could not help but think of Bruno Latour’s comments about how we need a new geostory to help us make sense of the Anthropocene.Farrier engages widely with Donna Haraway and Anna Tsing to develop some key themes, yet there is no attempt to force the concept of the Anthropocene into any prefigured box, despite his study’s grounding in ecocriticism and his stated sympathy with the fledgling field of Anthropocene studies. As Farrier notes, “I pursue a more inclusive approach to defining the Anthropocene, that is, that each discipline must do so according to its own terms and, by implication, that each discipline must reappraise its boundaries and assumptions in the Anthropocene’s shadows” (3). Farrier’s familiarity with both the scientific basis and cultural debates around the Anthropocene allows him to pull this off successfully.A key aim for Farrier is to explore what an Anthropocene poetics might look like, and to show how such a poetics can allow for more fluid engagements with the Anthropocene. He does this through three framing devices: intimacy (deep time), entanglements (sacrifice zones), and swerve (kin-making), each of which allows him to think more deeply about our growing awareness of deep time (past and future) and our entanglements with a changing planet. Farrier suggests this awareness is creating a deeper appreciation for how the human project is (and always has been) deeply bound up with other than human beings and non-human agencies. As Farrier argues: “One of the most striking and unsettling aspects of the Anthropocene is the newly poignant sense that our present is in fact accompanied by deep pasts and... (shrink)

This book examines the conservative theory that guided Jeb Bush's behavior and the aggressive manner in which he used the Office of Governor to pursue his goals. It offers insight into his motivations and competencies and analyzes the extent to which his self proclaimed 'revolution' achieved its goals in Florida.

Discharges against medical advice (AMA) make up a significant number of hospital discharges in the United States, and often involve vulnerable patients who struggle to obtain adequate medical care. Unfortunately, much of the AMA discharge process focuses on absolving the medical center of liability for what happens to these patients once they leave the acute setting. Comparatively little attention is paid to the ethical obligations of the medical team once an informed decision to leave the acute care setting AMA has (...) been made. Via a case narrative, we offer an ethical framework that we believe can help guide an ethically defensible AMA discharge process. By emphasizing our duty to provide the best care possible under the circumstances, we contend, our ethical obligations to promote the patient's best interests can still be met despite their decision to leave the acute setting against medical advice. (shrink)

The purpose of this article is to advance a new understanding of gender as a routine accomplishment embedded in everyday interaction. To do so entails a critical assessment of existing perspectives on sex and gender and the introduction of important distinctions among sex, sex category, and gender. We argue that recognition of the analytical independence of these concepts is essential for understanding the interactional work involved in being a gendered person in society. The thrust of our remarks is toward theoretical (...) reconceptualization, but we consider fruitful directions for empirical research that are indicated by our formulation. (shrink)

1 INTRODUCTION Above the other titles he might justly have claimed, Charles S. Peirce prized the title 'logician'. He expressed in several places his ...

In order to lie, you have to say something that you believe to be false. But lying is not simply saying what you believe to be false. Philosophers have made several suggestions for what the additional condition might be. For example, it has been suggested that the liar has to intend to deceive (Augustine 395, Bok 1978, Mahon 2006), that she has to believe that she will deceive (Chisholm and Feehan 1977), or that she has to warrant the truth of (...) what she says (Carson 2006). In this paper, I argue that none of the existing definitions of lying identify a necessary condition on lying. I claim that lying is saying what you believe to be false when you believe that the following norm of conversation is in effect: "Do not say what you believe to be false" (Grice 1989, 27). And I argue that this definition handles all of the counter-examples to the existing definitions. (shrink)

What is commonly known as the Copenhagen interpretation of quantum mechanics, regarded as representing a unitary Copenhagen point of view, differs significantly from Bohr's complementarity interpretation, which does not employ wave packet collapse in its account of measurement and does not accord the subjective observer any privileged role in measurement. It is argued that the Copenhagen interpretation is an invention of the mid‐1950s, for which Heisenberg is chiefly responsible, various other physicists and philosophers, including Bohm, Feyerabend, Hanson, and Popper, having (...) further promoted the invention in the service of their own philosophical agendas. (shrink)

The original version of this article unfortunately contained a mistake. The fourth author’s name is Bianca Crewe, not Bianca Crew. The original article has been corrected.