La définition du beau en termes de « perception des rapports » obéit-elle à une raison simplement contextuelle – l’expression est à la mode en cette première moitié du XVIIIe siècle – ou répond-elle à une exigence proprement philosophique? Elle doit être resituée dans le contexte du débat entre Rameau et Rousseau sur l’origine du plaisir esthétique dans le domaine musical. Par l’idée de « perception des rapports », Diderot veut maintenir une objectivité du beau tout en prenant en considération (...) son contexte de perception. Contrairement aux apparences, ce thème de la « perception des rapports » n’est pas abandonné lorsque Diderot aborde le plaisir esthétique dans le domaine pictural. Le passage de la musique à la peinture justifie le passage d’une théorie des rapports à la théorie des proportions – ne rendant toutefois pas caduque la définition du beau par le jeune Diderot des années 1740-1750. (shrink)

Interpersonal understanding is rooted in social engagement. The question is: How? What features of intersubjective coordination are essential for the growth of concepts about the mind, and how does development proceed on this basis? Carpendale & Lewis (C&L) offer many telling insights, but their account begs questions about the earliest forms of self-other linkage and differentiation, especially as mediated by processes of identification.

De son vivant comme après sa mort, Diderot a été accusé de manque de suite dans les idées. Jean-Claude Bourdin, refusant de lui accorder l’épithète de ‘sceptique’, a suggéré que l’insécurité et le questionnement ne seraient pas la marque de sa philosophie, qui est matérialiste, mais tiendraient à sa manière d’écrire. Pourtant ces caractéristiques portent également une signification philosophique parfaitement cohérente : le temps serait irréel, au sens philosophique ; nous ne pourrions jamais justifier un propos sur le passé sans (...) comprendre ce qui le justifie dans notre présent ; quant à l’avenir, ce propos est perpétuellement incomplet. Dès lors, tout est toujours susceptible de corrections. Ainsi, le « scepticisme » de Diderot est à comprendre comme anti-réaliste, en s'appuyant sur les travaux de Dummett et de Bourdin.Both during his life and after his death, Diderot was accused of being illogical. Jean-Claude Bourdin refuses to call him a « sceptic » and suggests that the hesitations and questionings that have given rise to this epithet characterize in fact only his manner of writing, and not the content of his philosophy, which is materialist. However, these characteristics have a philosophical meaning which is not at all illogical : time is unreal, in the philosophical sense ; we can never justify a statement about the past without understanding what there is in our present which justifies it ; and our statements about the future are perpetually incomplete and hence always subject to revision. Thus, the « scepticism » of Diderot needs to be understood in the light of the work of Dummett and Bourdin and as an anti-realism. (shrink)

The “problem” of dreaming in NREM sleep continues to challenge models that propose a causal relationship between REM mechanisms and the psychological features of dreaming. I suggest that, ultimately, efforts to identify correspondences among multiple levels of analysis will be more productive for dream theory than attempts to reduce dreaming to any one level of analysis. [Hobson et al. ; Nielsen].

Leonard Trelawney Hobhouse is considered one of the founders of sociology as a discipline. His four books which form Principles of Sociology are published here together for the first time - representing a synthesis of the philosophical and scientific methods of social inquiry. Although very scarce, the study by Hobson and Ginsberg is still regarded as the most comprehensive account of Hobhouse's life and works. There is also a memoir by Hobson and a selection of Hobhouse's otherwise inaccessible (...) writings. (shrink)

For twenty years, the renowned philosopher of science Sandra Harding has argued that science and technology studies, postcolonial studies, and feminist critique must inform one another. In The Postcolonial Science and Technology Studies Reader, Harding puts those fields in critical conversation, assembling the anthology that she has long wanted for classroom use. In classic and recent essays, international scholars from a range of disciplines think through a broad array of science and technology philosophies and practices. The contributors reevaluate conventional accounts (...) of the West’s scientific and technological projects in the past and present, rethink the strengths and limitations of non-Western societies’ knowledge traditions, and assess the legacies of colonialism and imperialism. The collection concludes with forward-looking essays, which explore strategies for cultivating new visions of a multicultural, democratic world of sciences and for turning those visions into realities. Feminist science and technology concerns run throughout the reader and are the focus of several essays. Harding provides helpful background for each essay in her introductions to the reader’s four sections. Contributors Helen Appleton Karen Bäckstrand Lucille H. Brockway Stephen B. Brush Judith Carney Committee on Women, Population, and the Environment Arturo Escobar Maria E. Fernandez Ward H. Goodenough Susantha Goonatilake Sandra Harding Steven J. Harris Betsy Hartmann Cori Hayden Catherine L. M. Hill John M. Hobson Peter Mühlhäusler Catherine A. Odora Hoppers Consuelo Quiroz Jenny Reardon Ella Reitsma Ziauddin Sardar Daniel Sarewitz Londa Schiebinger Catherine V. Scott Colin Scott Mary Terrall D. Michael Warren. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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In this study, David Weinstein argues that nineteenth-century English New Liberalism was considerably more indebted to classical English utilitarianism than the received view holds. T. H. Green, L. T. Hobhouse, D. G. Ritchie and J. A. Hobson were liberal consequentialists who followed J. S. Mill in trying to accommodate robust, liberal moral rights with the normative goal of promoting self-realisation. Through careful interpretation of each, Weinstein shows how these theorists brought together themes from idealism, perfectionism and especially utilitarianism to (...) create the new liberalism. Like Mill, they were committed to liberalising consequentialism and systematising liberalism. Because they were no less consequentialists than they were liberals, they constitute a greatly undervalued resource, Mill notwithstanding, for contemporary moral philosophers who remain dedicated to defending a coherent form of liberal consequentialism. The New Liberals had already travelled much of the philosophical ground that contemporary liberal consequentialists are unknowingly retravelling. (shrink)

The dissertation defends a teleological liberal normative theory against the most prominent contributions to contemporary liberal thought, specifically the deontological liberalism of John Rawls and those who have followed in the spirit of his work. The teleological theory that is advanced incorporates an objective conception of value; hence, the reference to "ideal" liberalism to designate the position that is defended. ;Ideal teleological theories have had a prominent place in modern liberal thought in the works of T. H. Green, the new (...) liberals, and others , although as a result of the impact of Rawls's work such positions have not recently received much attention and doubts have been raised about their capacity to satisfy liberal commitments to tolerance, anti-paternalism, and liberty. The dissertation defends the liberal credentials of ideal liberalism while arguing it is in a better position to respond to some of the more forceful criticisms of contemporary Rawlsian liberalism. In particular, the dissertation argues that contemporary liberalism's commitment to a resourcist conception of value, or to "liberal neutrality," cannot be sustained against criticisms about the fairness of this account of value to certain non-individualistic ways of life and against criticisms about its capacity to ensure a stable, progressive social environment. These criticisms point to the need to adopt a neo-Aristotelian conception of value as the basis of a liberal normative theory. It is also argued that a liberal theory that is based in such a conception of value is better able than its main competitor to address issues related to justice, gender, and culture. A chapter is also devoted to restoring a traditional liberal commitment to liberty as a predominant value in liberal theory by defending a normative conception of liberty in response to contemporary liberal skepticism that there is an important role for liberty in normative moral or political theory. Although the dissertation is not an exercise in the history of ideas, it draws importantly on the work of earlier ideal liberals such as J. S. Mill, T. H. Green, L. T. Hobhouse, and J. A. Hobson. (shrink)

Suppose libertarians could prove that durable, unqualified private property rights could be created through 'original acquisition' of unowned resources in a state of nature. Such a proof would cast serious doubt on the legitimacy of the modern state. It could also render the approach to property rights that I favour irrelevant. I argue here that none of the familiar Lockean-libertarian arguments for a strong natural right to acquisition succeed, and that any successful argument for grounding a right to acquire would (...) have to use my favoured approach to property rights - the 'vector-sum' approach. I conclude with some doubts about original acquisition theory and natural property rights. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:RUSSELL AND G. H. HARDY: A STUDY OF THEIR RELATIONSHIP I. GRATTAN-GUINNESS Faculty of Science, Engineering and Mathematics Middlesex Polytechnic Enfield, Middlesex EN3 45F, England I. INTRODUCTION Prom time to time the name of Hardy turns up in Russell's career: a common interest in set theory and the philosophy of mathematics, similar political and religious sentiments, and certain matters of mutual concern arising at Trinity College Cambridge and in (...) the university in general. However, there is no connected account of their contacts. The purpose of this article is to fill a gap in the literature on both men. After enduring private instruction at home, Bertrand Russell gained a minor scholarship in mathematics at Trinity College in 1890; he took Part I of the Mathematical Tripos until 1893 and then Part II of the Moral Sciences Tripos in the following year. In 1895 he gained a Prize Fellowship, which he held until 1901; in 19IO.he was awarded a college lectureship which he lost six years later under circumstances noted in section IV below. Much of the intervening time was spent in Oxford or London; however, he spent part of each year in Cambridge.1 The later years are brieHy recorded in section IV. Born into an intellectual family ofmodest means in 1877 (five years younger than Russell, therefore), Godfrey Harold Hardy won a scholarship to Winchester College and then went to Trinity College in I Standard biographical information on Russell is easily available; see, for example, R. W. Clark, The Life ofBertrand Russel~ specific phases and events are dealt with in succeeding footnotes. The Autobiography ofBertrand Russell is of lower quality than one might imagine; for example, Hardy is not mentioned at all! rus.ell: the Journal of the Bertrand Russell Archives McMasrer Unive~ity Library Press noS. 11 (wimer 1991-92): 165-79 ISSN 0036-01631 166 I. GRATTAN-GUINNESS 1896, just after Russell had gained his fellowship. He was elected to the Apostles (the "Society") in 1898, the year after Russell "took wings" after five years' active membership; he seems to have been less active than Russell as a speaker during his own three years there.2 At some stage he also joined the Cambridge University Moral Sciences Club, which Russell had joined in. 1891; a surprising contribution will be described in section IV.3 Graduating as fourth wrangler in Part I of the Mathematical Tripos in 1898 and gaining a high place in Part II in 1900, Hardy received at once a Prize Fellowship (like Russell). Upon its termination six years later, he obtained a colleg~ lectureship, which he held until 1919. He was elected a Fellow of the Royal Society of London in 1910 (two years after Russell),4 and in the following year he began his life-long collaboration with his younger colleague ]. E. Littlewood (1885-1977), also a Trinity College graduate and then Fellow, and also a friend of Russell.5 The next stages of Hardy's career will be described in section IV: his personality is assessed in a concluding section v. 1 On Russell'~ and Hardy's roles in the Apostles, see passim in P. Levy, Moore: G. E Moore and the Cambridge Apostles (London: Weidenfeld and Nicolson, 1979). 3 The chief obituary of Hardy is by E. C. Titchmarsh, published in slightly different forms in Obituary Notices ofthe Royal Society ofLondon, 6 (1949); 447-61, and Journal ofthe London Mathematical Society, 25 (1950): 81-101 (followed by more technical surveys of his mathematics by Titchmarsh and eight other authors on pp. 102-38). The first version is reprinted with a few changes in Hardy's Collected Papers, 7 vols. (Oxford: Clarendon P., 1966-79), I: 1-12. No major study has been written on him since. 4 Hardy was n~minated for a Royal Sociery fellowship in 1907 by A. R. Forsyth, seconded by J. W L. Glaisher, and supported "on personal knowledge" by W Burnside, E. W Hobson, P. A. MacMahon, A. N. Whitehead, A. E. H. Love, E. B. Elliott and T.]. d'A. Bromwich; the proposal was "suspended" (put up for voring) in 1908, 1909 and 1910 (Royal Sociery Cettificates, 12: foJ. 311). Although Russell was... (shrink)

Background Informed consent is an integral component of good medical practice. Many researchers have investigated measures to improve the quality of informed consent, but it is not clear which techniques work best and why. To address this problem, we propose developing a core outcome set to evaluate interventions designed to improve the consent process for surgery in adult patients with capacity. Part of this process involves reviewing existing research that has reported what is important to patients and doctors in the (...) informed consent process. Methods This qualitative synthesis comprises four phases: identification of published papers and determining their relevance; appraisal of the quality of the papers; identification and summary of the key findings from each paper while determining the definitiveness of each finding against the primary data; comparison of key themes between papers such that findings are linked across studies. Results Searches of bibliographic databases returned 11,073 titles. Of these, 16 studies met the inclusion criteria. Studies were published between 1996 and 2016 and included a total of 367 patients and 74 health care providers. Thirteen studies collected data using in-depth interviews and constant comparison was the most common means of qualitative analysis. A total of 94 findings were extracted from the primary papers and divided into 17 categories and ultimately 6 synthesised findings related to: patient characteristics, knowledge, communication, the model patient, trust and decision making. Conclusions This qualitative meta-aggregation is the first to examine the issue of informed consent for surgery. It has revealed several outcomes deemed important to capture by patients and clinicians when evaluating the quality of a consent process. Some of these outcomes have not been examined previously in research comparing methods for informed consent. This review is an important step in the development of a COS to evaluate interventions designed to improve the consent process for surgery. Registration The study protocol was registered on the international prospective register for systematic reviews. (shrink)

Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at the centre’ (...) of a specific form of music, such as rock or jazz—or perhaps classical music. The argument of this essay is, first, that a close examination of the best efforts in two of these territories shows that they have the effect of pressing the music in each sphere into implausible Procrustean beds. Second, it is argued that the general question that higher-order ontologies pose, that is, ‘What work-kind is it that lies at the centre of a given kind of music, F?’ is a question based on a mistaken but seductive assumption, namely that the concept of the work of F has actual application. In fact, these concepts—upon which higher-order ontology depends—are mere artefacts of philosophy. The question is also addressed why the assumption is so seductive. Finally, the question finally is posed about what, if anything, is implied from the foregoing about the traditional ontology of classical music. (shrink)

This paper continues a discussion concerning the distinction between disability and handicap initiated in this volume by Steven D. Edwards. Edwards argues that the reasons advanced by the WHO for this distinction in its International Classification of Impairments, Disabilities and Handicaps (ICIDH) are not valid. Edwards also criticizes my own quite different grounds for distinguishing between the two concepts. His general conclusion is that the distinction is superfluous. In this paper I claim that Edwards's reasoning is invalid. I present five (...) arguments for my case, viz., the arguments from: a) practical necessity, b) cost-effectiveness, c) clinical practice, d) the subject's vital goals, and e) the universal presence of some basic action. My own conclusion thus is that there is a need within health care for a distinction between disabilities and handicaps. I also indicate that there may be a need for further distinctions along the dimension of action-generation which is presented in the paper. (shrink)

There is no subject at the interface of law, psychiatry and medical ethics which is more controversial than psychosurgery. The divergent views of the treatment begin with its definition. The World Health Organisation1 and others2 define psychosurgery as the selective surgical removal or destruction of nerve pathways or normal brain tissue with a view to influencing behaviour. However, proponents of psychosurgery demur on the basis that the `modern' treatment is concerned predominantly with emotional illness, without any specific effect upon behaviour. (...) The alternative definition offered is `the surgical treatment of certain psychiatric illnesses by means of localised lesions placed in specific cerebral sites.3It is difficult entirely to accept this definition because, as examined below, scientific psychiatry is not yet in a position to directly treat psychiatric illness solely through surgical intervention. There is no reliable theoretical relationship between particular cerebral sites (which are normal and healthy) and an identifiable psychiatric illness or symptomatology. Given this state of psychiatric understanding, it is misleading to suggest fine distinctions between generalised alteration of behaviour or mood and treatment of an illness. Highly divergent practices and theories (relating to the multiplicity of conditions treated, surgical methods adopted and areas of the brain operated upon) further undermine exaggerated claims that psychosurgery can scientifically `treat' specific illness through precise surgical intervention. Nonetheless, contemporary psychosurgery does not contain quite the same `broadbrush' approach of its ancestors and it can lay some legitimate claim as an effective empirical treatment in narrowly limited circumstances. Major ethical problems still, however, arise and these will be discussed in this article. (shrink)

This special issue of HYPATIA: A Journal of Feminist Philosophy entitled "Women, Art, and Aesthetics" highlights the expanded range of topics at center stage in feminist philosophical inquiry to date (2003): recontextualizing women artists (essays by Patricia Locke, Eleanor Heartney, and Michelle Meagher), bodies and beauty (Ann J. Cahill, Sheila Lintott, Janell Hobson, Richard Shusterman, Joanna Frueh), art, ethics, politics, law (A. W. Eaton, Amy Mullin, L. Ryan Musgrave, Teresa Winterhalter), and review essays by Estella Lauter and Flo Leibowitz. (...) Annotated bibliography by Joshua Shaw. (shrink)

This article uses two concepts—trying on gender and local gender regime—to examine adolescent gendering processes for 26 girls from two northeastern communities. Based on a four-year study, the author found that the process of becoming a woman is much more provisional than previously thought. Adolescent girls resist, experiment, and practice gender in a trying-on process; gender, race, and class structures in the communities mutually reinforce particular kinds of femininities. This article describes the gender regime of each community and examines how (...) the gender regimes differentially shape the process of trying on gender as these girls make the transition to womanhood. (shrink)

The image of Antonio Salieri is recreated based on the memories of his contemporaries and epistolary and journalistic literature. The author, relying on memoir literature, archival documents and journalistic sources, substantiates his own position regarding A. Salieri’s contribution to the world artistic treasury and artistic higher education, the expediency of researching his heritage at the current stage. A wide range of primary sources little-known in scientific circulation are used, which allow us to reveal the image of Antonio Salieri – a (...) musician, composer, teacher, theater director, rector of the central art institution of higher education in Europe in the 19th century – the Vienna Conservatory. The concept of A. Salieri’s involvement in the early death of is refuted Mozart. The aim consists in recreating the image of Antonio Salieri based on the memories of his contemporaries and epistolary and journalistic literature. The tasks of the research are the analy of primary sources on this issue and the identification of modern approaches to Antonio Salieri’s contribution to the world artistic treasury. Research methods. The methodology of the author’s research is based on the content-comparative method, which allows you to determine the reliability of one or another source, the ratio of traditionally established and non-traditional vision of the image of a prominent representative of his era – Antonio Salieri. Reconstruction was also used – to reproduce the events of the era at the turn of the 18 – 19th centuries within the scope of the research. Research results: The development of the pedagogical heritage of A. Salieri in the activities of his students and followers is shown; the creative portrait of Y.N. Hummel, who, thanks to the Maestro, mastered vocal art, Italian musical terminology, music theory and solfeggio, choral singing and conducting, orchestration, pedagogical skills, combined “Salierian” classicism and his own romanticism. The achievements of Fortunata Valzel-Franchetti as a singer, artist and teacher are analyzed, and it is shown how the vocal-pedagogical school of A. Salieri came to Ukraine through her. Conclusion.The analysis of primary sources –correspondence, diaries of Antonio Salieri and his students, made it possible to find out the significance of the Maestro’s creative heritage for subsequent eras, to recreate his image based on the memories of his contemporaries and epistolary and journalistic literature. 27 archival cases were presented for consideration, which gave an opportunity to understand how domestic scientists, artists and publicists treated Antonio Salieri throughout the 20th century, so often they turned to his creative heritage. After careful analysis of these materials, it can be said that their assessment was very high. (shrink)

It is well known that when resolution occurs in the stichic iambics and trochaics of tragedy word-end is not found between the two shorts so produced: w or, more accurately, that the first short of resolution must not be the last syllable of a polysyllabic word. Moreover, the syllables in resolution most often form part of the same word as the following short or anceps, e.g.: Ion 1143.