This article provides ethical guidance on using race in health research as a variable or in defining the study population. To this end, a plain, non-exhaustive checklist is provided for researchers and research ethics committees, preceded by a brief introduction on the need for justification when using race as a variable or in defining a study population, the problem of exoticism, that distinctions pertain between race, ethnicity and ancestry, the problematic naming of races, and that race does not serve well (...) as a presumed biological construct in genetic research. (shrink)

The N ational Assembly held in the Frankfurt Paulskirche in 1848, which opened w ith high hopes for the unification o f Germ any on parliam entary constitutional principles, was left to die a year later, in the telling phrase o f D onoso Cortes, ‘like a street w om an in the gu tter’. In the period o f reaction that followed, during w hich the Paulskirche convention came to be described as the ‘parliam ent o f pro­ fessors’, (...) one o f its m em bers, Georg G ottfried Gervinus, was accused, in a trial for high treason, o f attem pting to prove the historical inevitability o f the supersession o f monarchical forms by republican forms. This was Gervinus’s second experience as a professorial m artyr. In 1837 he had been one o f the professors at the U niversity o f G ottingen, the ‘Gottingen Seven’, w ho protested the revocation o f the H anoverian constitution. For this he had been banished and given three days to leave the kingdom. The lesson he, and m any other liberal thinkers, learned from these experiences was that the Germ an middle classes were incapable o f perform ing the historical role assigned to them; they lacked the political will to establish a republican order. (shrink)

In this essay we will consider another basic topic: the problem of the nature of the distinctions between Sitte, Brauch, Wert, Mode, and Recht, on which Weber's discussion relies. These discussions typically involved the untranslatable concept of Sitte, which marks a contrast between practices or customs with normative force and “mere practice.” There is a close parallel to this distinction in American social thought in W. G. Sumner's latinate distinction between the mores and folkways of a society. In what follows (...) we shall simply use the German term as a reminder of its long history in German philosophy. Weber was obviously aware of this history, as was Jhering. Our aim will be to examine Weber's modifications of the received version of these distinctions and to consider the Implications of these modifications. As we shall see, what Weber represents as an innocuous classificatory problem contains a much more significant conceptual transformation, which bears on the general image of modernity as rationalization constructed by Weber. (shrink)

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a (...) position is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)

`Folk Psychology' - our everyday talk of beliefs, desires and mental events - has long been compared with the technical language of `Cognitive Science'. Does folk psychology provide a correct account of the mental causes of our behaviour, or must our everyday terms ultimately be replaced by a language developed from computational models and neurobiology? This broad-ranging book addresses these questions, which lie at the heart of psychology and philosophy. Providing a critical overview of the key literature in the field, (...) including the seminal work of Fodor and Churchland, the author explores the classic `Frame Problem' and assesses the future prospects of cognitive science. The scope of the frame problem, touching on connec. (shrink)

The implications of the causal and ubiquitous use, by doctors health-workers and politicians, of the word 'patient' are here discussed. Given that the many implications of this noun do not include health or normality (rather the contrary), it is questionable who, if anyone, profits from its indiscriminate use--and its use, even, at all.

This volume contains papers that represent Leibniz’s early thoughts on the problem of evil, centering on a dialogue, the Confessio philosophi, in which he formulates a general account of God’s relation to sin and evil that becomes a fixture in his thinking. How can God be understood to be the ultimate cause, asks Leibniz, without God being considered as the author of sin, a conclusion incompatible with God’s holiness? Leibniz’s attempts to justify the way of God to humans lead him (...) to deep discussion of related topics: the nature of free choice, the problems of necessitarianism and fatalism, the nature of divine justice and holiness. All but one of the writings presented here are available in English for the first time. (shrink)