Physicians generally recommend that patients resuscitated with naloxone after opioid overdose stay in the emergency department for a period of observation in order to prevent harm from delayed sequelae of opioid toxicity. Patients frequently refuse this period of observation despiteenefit to risk. Healthcare providers are thus confronted with the challenge of how best to protect the patient’s interests while also respecting autonomy, including assessing whether the patient is making an autonomous choice to refuse care. Previous studies have shown that physicians (...) have widely divergent approaches to navigating these conflicts. This paper reviews what is known about the effects of opioid use disorder on decision-making, and argues that some subset of these refusals are non-autonomous choices, even when patients appear to have decision making capacity. This conclusion has several implications for how physicians assess and respond to patients refusing medical recommendations after naloxone resuscitation. (shrink)

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections (...) in the preservation process, and hope you enjoy this valuable book. (shrink)

In Victor Hugo’s novel, Notre-Dame de Paris, 1482, the priest says that, alas, ‘this will destroy that’, meaning that the book upon which his hand was placed would destroy the building opposite. He is looking out of a window at the immense Cathedral of Notre-Dame (Hugo, 1967, p. 197). If the cathedral is a library to be read by the religious, and if the church is the symbol of authority and the repository of medieval knowledge, then the priest means not (...) only that the book, printing and new literacy would undermine the church’s authority, but that human thought will undermine the church’s expression of its authority (Bolter, 1991). The priest continues: the principal idea of each generation would no longer write itself with the same material and in the same way, that the book of stone, so solid and durable, would give place to the book made of paper, yet made more solid and durable. (Hugo, 1967, p. 199; Bolter’s 1991 translation). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:AQUINAS AS POSTLIBERAL THEOWGIAN BRUCE D. MARSHALL St. Olaf Oollege Northfield, Minnesota, 1JHE PURPOSE of this essay is to discuss the relation between Thomas Aquinas' account of religious and heological truth and a " posrtliberal " one sruch rus that sketched in George Lindbeck's The Nature of Doctrine. Most reviewers assume that Lindbeck's.app:voach is on this point incompatible with the mainstream of the tmdition, and Colman O'Neill, writing (...) :in The Thomist symposium on Lindbeck's book, thinks it oontradicts Aquinas in particular. This paper presents the case to the contr:ary. Afte'I." outlining O'Neill's problem, it argues thart he mis11eads Lindbeck 'and,.at greater length, that Aquinas''S views on t:ruth :are, as Lindbeck affirms, compatible with postliberal emphases. I O'Neill's basic problem with Lindbeck's: "cultural linguistic " understanding of truth is thwt Lindbeck " would clearly have us puTify [Christi.an] language by ridding it of extra-linguistic accretions-in particular the intrusion of reference to objective reality. In the end the only thing that matters is scriptural discourse verified by action." 1 Lindbeck may not intend this " purification," 2 but whatever the intention, his 1 Colman E. O'Neill, "The Rule Theory of Doctrine and Propositional Truth," The Thomist 49 (1985), p. 422. 2 So Lindbeck writes: "The great strength of a cognitive-propositional theory of religion is that •.. it admits the possibility of [ontological] truth claims, and a crucial theological challenge to a cultural-linguistic approach is whether it also can do so." The Nature of Doctrine: Religion a,nd Theology in a, Postlibera,l Age (hereafter ND), (Philadelphia, 1984), pp. 63-4. 353 854 BRUCE D. MARSHALL view of •religious truth entails a raidical rejection of 1any claim that Christian beliefs!are onto1ogioally true, in other words, tha;t they rre£er or correspond •to reality. The reruson rllor this putative entailment lies in Lindbeck's manifest oontention (to be explained below) that truth claims in any l'eligion, including Christianity, are subject to 1a twofold criterion of coherence: they must fit wirth the wider linguistic (especially scriptural) paradigms of the 11eligion, and also with a range of practices appropriate to the belief the truth of which is being claimed. But, says O'Neill, Christian beliefs are not true because they cohere with anything, they are true (like all true propositions) "because of their reference to the real." a By introducing ;an irreducible element of coherence into his interpl'etation of Christian truth claims, Lindbeck inevitably " attaches to the ·term ' propositional truth '.a purely pra.gmatic signification," so that " a quite precise philosophical option has: been ma.de in faV'or of the moral or pragmatic definition of truth." 4 O'NeiiH'is point is that " ontological " or " propositional " truth has here been equa,ted with nothing more than the con£ormity of one's life to the patterns narrated in the!biblical story (O'Nei1l's "·scriptural dis-·oourse verified by 1action "), •such tha;t " no claims to objective truth" need be made for the story or any a.ssociated beliefs.5 Tihis, O'Neill alleges, is ·a " novel definition of ontological truth." 6 We ought to!'eject this novelty in favor of the under- •standing of Christian beliefs and their truth articulated by 'Ihomas Aquinas, whel"e it is firmly maintained against " the moral or pmgmatic definition of truth " that " propositions are true because of their I"eference ·to.the real." In order to undevstand the issues ·raised by O'Neill's criticism, it is important to bear in mind the distinction-often made but often overlooked ais well-between truth :and justis O'Neill, "Propositional Truth," p. 430. 4 O'Neill, "Propositional Truth," p. 429. 5 O'Neill," Propositional Truth," p. 420. 6 O'Neill, "Propositional Truth," p. 431. AQUINAS AS POSTLIBERAL THEOLOGIAN 355 fica.tion. The very isisue of what it means to say that propositions 1 are true can be distinguished from the issue of ho,w one justifies, warrants, or tests the truth of propositions. So, for example, one might maintain that in regard to propositions, "true" should be defined as "oorresponds to reality," or perhaps "fitly expresses experience," or perhaps "is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 68J The Theology of Henri de Lubac: An Overview. By HANS URS VON BALTHASAR. Translated by Joseph Fessio, S. J., Michael M. Waldstein (Preface), and Susan Clements (Conclusion). San Fran· cisco: Ignatius Press/Communio, 1991. Pp. 127. $9.95 (paper). Except for the preface and conclusion, Hans Urs von Balthasar's The Theology of Henri de Lubac first appeared as the long essay, "Henri de Lubac-L'oeuvre organique d'une vie," (...) in Nouvelle Revue Theologique 97 (1975), 897-913 and 98 (1976), 33-59, and translated by Joseph Fessio, S.J., as "The Achievement of Henri de Luhac" in Thought 51 (1976), 7-49. The preface was added soon after for the German edition, Henri de Lubac: Sein organisches Lebenswerk (Frei· burg im Breisgau: Johannes Verlag, 1976). The conclusion was added for Balthasar's and Jesuit Georges Chantraine's Le Cardinal de Lubac: L'Homme et son oeuvre (Paris: Ed. Lethielleux, 1983). While de Lubac denied " a true, personal philosophical or theo· logical synthesis " in the multiplicity of his oeuvre, he did believe that there could he found " a pattern that constitutes its unity " (de Luhac on p. 10). A more systematic work had been planned with Bruno de Solages, Peres Congar, Chenu, and others. In de Luhac's words, " the lightning bolt of Humani Generis killed the project" (p. 11). We can only wonder at what might have been. At the center of de Lubac's thought is a spiritual perception of "the essence of Christian mysticism" (p. 11). A hook on this subject was planned hut never completed; its fundamental importance was indicated by de Luhac in 1956: "I believe my hook on mysticism has inspired me for a long time in everything I work on; in its light I make my judgments and gain the criteria for ordering my thoughts and ideas" (p. 11). The purpose of Balthasar's little book is to trace these "great spiritual options of the master" (p. 26). Balthasar wrote his preface after he had received from de Luhac the manuscript that would he published as his Memoire sur l'occasion de mes ecrits (1989; ET: At the Service of the Church (1993]). Accord· ing to Balthasar, this "meandering" text has great value in display· ing the organic unity of de Luhac's writings in the contexts which occasioned them-" as well as the legendary condemnations and banish· ments prepared for him by his order and by the Church" (p. 9). De Luhac adopted the " fundamental elan " (p. 13) of Blondel, Marechal, and Rousselot. They enabled de Lubac to see in Thomas Aquinas " the paradox of the spiritual creature that is ordained beyond itself by the innermost reality of its nature to a goal that is unreachable for it and that can only he given as a gift of grace " (p. 13). Balthasar is unambiguous in his belief in the correctness of their interpretation. 684 BOOK REVIEWS Blondel, Marechal, and de Lubac were " martyrs for truth " (p. 13). De Lubac " exposed himself to the attacks of a tutiorist scholastic theology, armed with nothing but the historical and theological truth" (p. 13). Of the three, de Lubac was the most persecuted. The conflict with scholasticism is presented in all its sharpness. One must go back to Thomas himself, over the commentatorial tradition of John of St. Thomas and Cajetan, whose work represents, in the words of Gilson, " a successful ' corruptorium Sanctae Thomae.'... Thomas has been castrated by it" (p. 14). Gilson's "unqualified assent" to de Lubac's Thomistic conclusions means much to Balthasar, because it is "the assent of the greatest authority in the field of the history of phi· losophy" (p. 15). Upon reading Sumaturel (1946), Gilson wrote to de Lubac that the difference between the scholastic and the humanist theologians, like de Lubac, in part lies in the way they understand propositions. The scholastics " understand only univocal propositions and those that seem to be univocal. The former [humanist theologiansJ, by contrast, are more interested in the truth that the proposition attempts to formulate and that partly escapes it" (p. 14). In their incomprehension and fear of analogy, the scholastics are represented as hankering after a security that... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THOMAS, THOMISMS, AND TRUTH BRUCE D. MARSHALL Saint Olaf College Northfield, Minnesota I HE GREAT, as Hegel's dictum has it, condemn the rest f us to the task of understanding them. We take our evenge upon the great, especialy upon great thinkers, by enlisting them for our own purposes, as our supporters and defenders in conflicts perhaps quite different from those in which they themselves were engaged. Thomas (...) Aquinas was a master, virtually without peer, at the intellectual enlistment of the great, and he himself has been perhaps as widely and variously recruited as any of those to whom he devoted his own attentions. When we enlist Thomas for our own purposes with some consistency and success, the result is a " Thomism," of which there have been many, sometimes quite conflicting varieties. My article " Aquinas as Postliberal Theologian " does not propose anything so developed as a Thomism, but perhaps at most a fragment of one.1 In their responses to it, Frederick J. Crosson and Louis 1 The Thomist 53 (1989) : 353-402. The interpretation of Thomas proposed there bears a family resemblance to that of some recent Thomisms and so is not wholly without precedent. Cf. Michel Corbin, Le chemin de la theologie chez Thomas D'Aquin (Paris: Beauchesne, 1974); Otto Herman Pesch, Die Theologie der Rechtfertigung bei Martin Luther und Thomas von Aquin (Mainz: Matthias-Grunewald-Verlag, 1967) ; idem, Thomas von Aquin: Grenze und Grosse mittelalterlichen Theologie, 2nd ed. (Mainz: MatthiasGrunewald -Verlag, 1989); Gerhard Ludwig Muller, "Hebt das Sola-FidePrinzip die Moglichkeit einer naturlichen Theologie auf? Eine Ruckfrage bei Thomas von Aquin," Catholica 40 (1986) : 59-96; Victor Preller, Divine Science and the Science of God (Princeton: University Press, 1967). Reference to these Thomisms should not, of course, be taken to constitute agreement with any particular claim one of them may make. 499 500 BRUCE D. MARSHALL Roy, O.P., argue that as a piece of Thomism-as the enlistment of Thomas in defense and support of a particular contemporary view of truth, meaning, and epistemic justification-it is at best unpromising. In so doing, they indicate, at least in part, what views on these matters they think Thomas can plausibly be enlisted to support, that is, the sort of Thomism they find more convincing. Great thinkers are not, however, defenseless against our efforts to recruit them for our ends. Especially in the case of one whose thought is as ramified, precise, and historically distant as is that of Thomas Aquinas, these efforts are likely to meet with some resistance. (Indeed, we will be inclined to distrust them if they claim not to.) We may even find ourselves compelled to refashion our own ends in order not to forgo plausible appeal to his precedent and support. Sometimes different Thomisms will no doubt include purposes distant enough from Thomas's own (as best we can grasp them) that it may be impossible to adjudicate conflicts between them by appeal to his texts. But in many cases it ought to be possible to decide reasonably between competing Thomisms (that is, to decide which more plausibly enlists Thomas for its own purposes) by assessing the amount and type of resistance each meets from the text of Thomas (of course this includes the possibility that competition between Thomisms reflects unresolved conflict within Thomas's own thought). In the present case the prospect of reasonable adjudication seems much increased by the fact that the large issues with which it is concerned -truth, meaning, and justification-tend to coalesce around what seems to be a straightforward matter of fact: whether Thomas taught that persons without Christian faith, and especially pre-Christian philosophers, knew, or were even able to know, God. Crosson and Roy both argue that the implausibility of my interpretation of Aquinas on these larger issues-the linking of a comprehensively coherentist account of justification an~ a contextualist account of meaning to Thomas's correspondence notion of truth-is especially clear in its attribution to Thomas of a posi- THOMA$, THOMISMS, AND TRUTH 501 tion he manifestly rejects: that a pre-Christian philosopher like Aristotle did not, and indeed could not, know God. This seems obvious to most modern Thomisms, which, however... (shrink)

Background The rise in genomic and biobanking research worldwide has led to the development of different informed consent models for use in such research. This study analyses consent documents used by investigators in the H3Africa (Human Heredity and Health in Africa) Consortium. Methods A qualitative method for text analysis was used to analyse consent documents used in the collection of samples and data in H3Africa projects. Thematic domains included type of consent model, explanations of genetics/genomics, data sharing and feedback of (...) test results. Results Informed consent documents for 13 of the 19 H3Africa projects were analysed. Seven projects used broad consent, five projects used tiered consent and one used specific consent. Genetics was mostly explained in terms of inherited characteristics, heredity and health, genes and disease causation, or disease susceptibility. Only one project made provisions for the feedback of individual genetic results. Conclusion H3Africa research makes use of three consent models—specific, tiered and broad consent. We outlined different strategies used by H3Africa investigators to explain concepts in genomics to potential research participants. To further ensure that the decision to participate in genomic research is informed and meaningful, we recommend that innovative approaches to the informed consent process be developed, preferably in consultation with research participants, research ethics committees and researchers in Africa. (shrink)

Freud saw the dream as occupying a very important position in his theoretical model. If there were to be problems with his theoretical account of the dream then this would impinge upon proposed therapy and, of course, education as the right balance between the instincts and the institution of culture. Wittgenstein, whilst stating that Freud was interesting and important, raised several issues in relation to psychology/psychoanalysis, and to Freud in particular. Why would Wittgenstein have seen Freud as having some important (...) things to say, even though he was sharply critical of Freud's claims to be scientific? The major issues to be considered in this paper are, in Section 1, the scientific status of Freud's work—was it science or was it more like philosophy than science; the analysis of dreams; rationality, and dreams and madness. Section 2 considers Freud and education, including the indignity of Freud's notion of ‘the talking cure.’ Section 3 considers psychoanalytic explanations not as theory but as a manner of speaking: ‘une façon de parler.’. (shrink)

L’ouvrage célèbre de Henry Sidwick, The Methods of Ethics, avait pour objet de trouver un fondement intuitionniste à l’utilitarisme. Les six conférences qu’il donna à la Société Métaphysique sur pratiquement le même sujet permettent de mieux comprendre le cheminement des idées de Sidgwick sur ce point à l’aune des changements religieux, scientifiques et politiques de la période. Sa critique de ce qui allait devenir l’Idéalisme britannique et les critiques dont il fut l’objet par un idéaliste tel que Bradley eurent des (...) incidences sur les révisions successives de cet ouvrage. En essayant de concilier utilitarisme et intuitionnisme – deux méthodes éthiques opposées – il tentait de défendre une forme d’utilitarisme nouveau, à savoir un utilitarisme dans lequel serait incorporé une forme de moralité discrète. Le fait qu’il échoua n’est pas important en soi car il tenta de trouver des solutions à ce qui lui paraissait être irréconciliable dans l’utilitarisme et les six conférences qu’il donna à la Société Métaphysique permettent d’en saisir toute la portée et de comprendre sa définition de l’utilitarisme. (shrink)

Penser l'expression de la croyance religieuse, la saisir en tant qu'acte de parole, expression qui soit conjointement langage et action, tel est l'objectif de cet ouvrage collectif. À travers des contributions issues d'horizons divers mais complémentaires, mobilisant en particulier les ressources de l'anthropologie sociale, de la philosophie du langage et de la phénoménologie radicale, l'ouvrage présente l'acte de dire la croyance religieuse selon ses dimensions constitutives, telles que son adresse, son énonciation ou sa réception. Décrire l'acte de dire la croyance, (...) c'est en effet replacer cet acte face à une réalité qu'il désigne et le réinsérer dans les pratiques d'un locuteur qui l'énonce et d'un interlocuteur qui le reçoit, que ce soit un individu ou une communauté. (shrink)

Arguments about constitutional and personal rights often invoke the concept of privacy. In the United States it has been said that the constitution "embodies a promise that a certain private sphere of individual liberty will be kept largely beyond the reach of government". A number of formulae has been invoked in an attempt to define the sphere of constitutional privacy. They include: Fundamental rights of interests; personal decisions and issues; important questions intimately affecting private lives; and decisions affecting education, child-rearing, (...) marriage and contraception.Canadian and Europian courts have resorted to balancing formulae and to proportionality to set the limits to liberty guarantees. All of them need, however, an implied general theory of liberty such as that propounded by Mill , since privacy is a special sub-category of liberty.Privacy claims are made not only against the State, but in tort law relations between individuals, or between individuals and organisations such as the Press. Proposals for legislation to protect personal privacy encompass two different types of claim. One relates to physical intrusion: the other to proprietary rights over information of certain kinds. It is questionable whether general legislation to establish a statutory tort of breach of privacy is defensible. It may even be dangerous and be exploitable to protect government information. A public interest defence is essential. That throws the balancing role back on the courts, but they cannot rely on any obvious social consensus in weighing the interests at issue. In der Auseinandersetzung über subjektive Rechte, die von einer Verfassung garantiert sind oder deren Verletzung privatrechtliche Ansprüche auslöst, berufen sich viele Stimmen auf das Konzept der Privatsphäre. Nach einer in den Vereinigten Staaten vertretenen These liegt der amerikanischen Verfassung "das Versprechen zugrunde, daß die Privatsphäre, d.i. eine bestimmte Sphäre individueller Freiheit, im großen und ganzen außerhalb des Zugriffs des Staates liegt". Wie läßt sich rechtlich präzisieren, was diese verfassungsrechtlich garantierte Privatsphäre eigentlich einschließt? Eine Reihe von Antworten, die auf diese Frage gegeben werden, bezeichnen als vom Begriff der Privatsphäre erfaßt a) fundamentale Rechte oder Interessen, b) persönliche Probleme oder Entscheidungen, c) wesentliche Fragen, die das Privatleben ganz existenziell berühren, d) Entscheidungen, die die Erziehung und Ausbildung von Kindern, Empfängnisverhütung und Eheschließung betreffen. Einige dieser Formeln enthalten Elemente eines logischen Zirkels, da sie bei dem Versuch, die Privatsphäre näher zu umschreiben, ihrerseits selbst den Ausdruck "privat" benutzen. Andere sind entweder offensichtlich zu weit oder zu eng oder sonst schlechterdings ungenügend. Darüber hinaus ist es nicht klar, wann bei den subjektiven Rechten, die als fundamental bezeichnet werden, Ausnahmen gemacht werden. Ein Beispiel liefert die US-amerikanische Entscheidung Bowers v. Hardwick. (shrink)

In J. B. Schneewind's The Invention of Autonomy we are given a monumental history of moral philosophy of the seventeenth and eighteenth centuries, a history more comprehensive and richer in detail than one would have thought possible in a single volume. Though the daunting erudition, agreeably unobtrusive, inspires confidence, it is Schneewind's gift of narrative that makes his book such a pleasure and his story so compelling. Schneewind originally conceived the book, he tells us, to "broaden our historical comprehension of (...) Kant's moral philosophy by relating it to the earlier work to which it was a response", but he does much, much more as he charts the fitful transition from morality as obedience to the later and now widely accepted conception of morality as self-governance. In its broad outline, the story is familiar, beginning with Montaigne's skepticism, moving through modern natural law theory, rationalist, perfectionist, and moral sense responses and ending with Bentham and Kant. But Schneewind adds to acute and deeply informed discussions of Hobbes, Locke, Clarke, Hume, and Kant, clear, often arresting summaries, in varying degrees of detail, of Aquinas, Luther, Calvin, Machiavelli, Suarez, Charron, Grotius, Cumberland, Pufendorf, Thomasius, DuVair, Justus Lipsius, Herbert of Cherbury, Descartes, Gassendi, Whichcote, John Smith, More, Cudworth, Spinoza, Leibniz, Barbeyrac, Malebranche, Nicole, Bayle, Harrington, Shaftesbury, Mandeville, Butler, Price, Adam Smith, Reid, Paley, Hartley, Helvetius, d'Holbach, Bentham, de Sade, Wolff, Crusius, Voltaire, La Mettrie, Diderot, Rousseau, and others. If, as no doubt they will, some readers will fault some of Schneewind's interpretations, none will fail to admire his achievement in ferreting out and combining in such a fascinating narrative the leading ideas of this host of thinkers. It is safe to predict, moreover, that this study will inspire others to explore some of these less-read authors and to produce more fine-grained monographs, and further to deepen our understanding of the period and of the way we have come to think of ourselves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bayle, Saint-Evremond, and Fideism:A Reply to Thomas M. LennonGianluca MoriIn a recent article published in this journal Thomas M. Lennon returns to the controversial question of Bayle's attitude towards religion. The point he debates is the particular use that, in expounding his conception of the relationship between faith and reason, Bayle makes of a passage from Saint-Evremond. In Lennon's view the correct interpretation of this point would show that (...) Bayle's fideism is to be "taken at face value" without any hint of irony and with no suspicion of dissimulation or insincerity.1 This would cast doubt on and greatly weaken the interpretation I proposed in my Bayle philosophe.2 My aim here is to respond briefly to Lennon's arguments and to clarify even more briefly what in my opinion is the right perspective in which to consider Bayle's position on this topic.The context in which Bayle quotes Saint-Evremond is to be found in the Eclaircissements he added to the second edition of his Dictionnaire historique et critique (1702) to counter the Dutch religious authorities' harsh criticism of the first edition. In particular the Walloon Consistory accused Bayle of taking a skeptical position that undermined the most important dogmas of Christian faith. In response Bayle wrote the Eclaircissement sur les Pyrrhoniens, a clumsy mosaic of quotations from the Scriptures and from patristic and profane texts, with which he sought to show that his skeptical fideism was not in the least heterodox but indeed the position that most closely reflected true Christianity. The quotation from Saint-Evremond, almost at the end of this text, is taken [End Page 323] from the Conversation du Maréchal d'Hocquincourt et du Père Canaye (written in about 1654).3 The final passage gives a clear idea of the general tone: after having disputed with a churchman the need to subject one's intellect to the yoke of faith, the marshal concludes by saying that he is ready to be crucified "without knowing why." Father Canaye replies: "No reason! That is the true religion. No reason! God has granted you a fine grace, mylord." So, and here Lennon obviously agrees (229), Saint-Evremond's is a text with no shadow of mystical inspiration, indeed strongly tending in the libertine direction, as is clear from the blatant way it pours scorn on the fideist approach.In my interpretation Bayle's use of this quotation does not at all demonstrate his atheism or unbelief, for in my view that question is undecidable. However, the quotation from Saint-Evremond is sufficient—and this is the onlyreason I mentioned it4 —to show that Bayle's approach to fideism is in no way innocent and naive as is sometimes claimed. On the contrary, his texts on this subject contain what amounts to provocations aimed at orthodox readers (to which they immediately reacted). This, together with other more important reasons, leads me to believe that Bayle's professions of Christian faith, though frequent, are generally far from being above suspicion: indeed, almost every line of them raises questions about their actual significance.The provocation contained in the quotation from Saint-Evremond appears in all its rhetorical weight if we associate this text with three other passages from Bayle's works. The first is from the Nouvelles de la république des lettres of December 1686, in which Bayle stresses the unedifying nature of the religious maxims contained in Saint-Evremond's Conversation (which, incidentally, he himself had just had printed in the collection Le Retour des pièces choisies).5 The second is taken from a letter by Jean d'Oulès to Bayle, written in 1696, in which the author deals with exactly the same passage from the Conversation that was later to be reproduced in the Eclaircissement. In this letter d'Oulès quotes the full passage which he considers to be a "naughty text" deliberately written to throw ridicule on the fanatical fideism of Pierre Jurieu.6 The third passage is from Bayle's Continuation des pensées diverses of 1704 in which, shortly after the death of Saint-Evremond, he publicly reveals the poet... (shrink)

La chambre à coucher des couples ordinaires ne relevant aucunement de la justice est souvent le théâtre d’une cruauté qui peut se manifester de manière subtile ou brutale. Mieux appréhender la violence sexuelle implique d’en approfondir les origines et la fonction. Les exemples cliniques montrent jusqu’où peut aller ce type de violence. Celle-ci demeure souvent cachée mais est source de grande souffrance. L’auteur souligne l’interaction des partenaires dans ces passages à l’acte. Il envisage une typologie des sadismes sexuels névrotiques.

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:nooK itEVIEWS 141 La Doctrine de la Revelation Divine de Saint Thomas D'Aquin: Actes du Symposium sur la Pensee de Saint Thomas d'Aquin, recueil puhlie sous la direction de LfoN ELDERS, S.V.D. in Studi Tomistici 37. Pontificia Academia di S. Tommaso, Lihreria Editrice Vaticana, 1990. Pp. 278. 30,000.00 lire. This collection of essays by distinguished scholars presents the acts of a conference on the doctrine of Revelation according to (...) Saint Thomas Aquinas. The volume contains twelve papers, four in French, four in English and four in German. The contributors are, in alphabetical order: A. Blanco, G. Cottier, O.P., Ph. Delhaye, L. Elders, S.V.D., L. Hodl, B. McGregor, O.P., J. H. Nicolas, O.P., L. Scheffczyk, R. Schenk, O.P., J. Schumacher, P. Stohr, and J. P. Torrell, O.P. The ground covered by their articles is as broad as the horizon of their authors. Aquinas's doctrine is confronted with problems ranging from the modernist crisis to those currently discussed in missiology. In theology, when one associates Revelation with Thomism, one is forced to think of Father Garrigou-Lagrange's De Revelatione, truly a landmark in the history of modern theology. Reading it, one cannot help hut to he impressed by the mastery and the clarity with which this eminent Dominican theologian of the antimodernist period disputes and refutes the arguments which threatened the Church at the beginning of the twentieth century. Unfortunately, Garrigou-Lagrange's hook has never been translated into modern languages. And yet, in a certain way, volume 37 of Studi Tomistici can substitute for it, since it deals with issues closely related to those which Garrigou-Lagrange addressed in his study of Revelation. It also recasts the discussion in the terms in which it is expressed in the theological field today. For this reason, this volume provides a valuable resource for the contemporary student of theology for whom the details of the modernist crisis in the early part of this century have not only faded with time, hut also have become less pressing due to the complexity of the problematic which retains the attention of theologians in the post-Vatican II period. The focus of this collection of papers is the epistemology of divine Revelation, to the point that this could he its subtitle. Ten of the twelve articles deal with this question. Only Delhaye's paper ventures outside of the field of epistemology to cover the topic of morals, while Horl takes up the ecumenical question. Scheffczyk's article provides a broad perspective on the evolution and the perenniality of the modernist/antimodernist problematic in theology. He shows that the root of the problem lies in the epistemology of the 142 BOOK REVIEWS Enlightenment, i.e. in idealism, which imposed itself as the philosophy of the anticlerical nineteenth century. In the last part of his paper he demonstrates how Saint Thomas's theology provides the insights neces· sary to articulate the doctrinal unity which exists between the teaching on Revelation found in Vatican I and that of Vatican II. He draws the reader's attention to the notion of degrees of Revelation whose culminating point is indeed the beatific vision and which is prepared for by a historical unfolding. Schumacher and Stohr also deal with the modernist's characterization of the traditional scholastic doctrine of Revelation as an imparting of propositions. Schumacher reviews the theory of Revelation of several of the modernist theologians. A com· mon characteristic of these theories is an idealist epistemology that re· duces the life of the intellect to its immanent part and thus renders impossible God's communication of intelligible truths without violating the laws of Nature. Stohr, on the other hand, investigates current theological theories and shows how Rahner and Schillebeeckx encounter the same difficulty with the intelligible content of Revelation because of their attempts to reconcile the Gospel's claim of effectiveness in chang· ing lives with idealist philosophy. With respect to the main line of inquiry, Nicolas's paper deals explicitly with epistemology of Revelation. This study of the " epistemo· logical aspects of Revelation " has two parts. In the first, Nicolas provides a commentary on S.Th... (shrink)

Der folgende Artikel ist im Jahr 2003 unter dem Titel „Clinical Pragmatism: A Method of Moral Problem Solving“ in dem Sammelband „Pragmatic bioethics“ erschienen, welcher sich mit der Bedeutung der pragmatistischen Philosophie für die Praxis befasst. In dem vom Internisten und Bioethiker Joseph J. Fins, dem Thoraxchirurgen Matthew D. Bacchetta und dem Philosophen und Medizinethiker Franklin G. Miller verfassten Beitrag wird der pragmatistische Ansatz in der klinischen Ethik anhand eines Fallbeispiels gleichzeitig beschrieben, begründet und demonstriert. Obgleich die Denkrichtung der (...) pragmatistischen Philosophie sowohl wissenschaftstheoretisch wie praktisch hoch bedeutsam ist – ohne diese ist weder die heutige sozialwissenschaftliche Forschung noch die angewandte, insbesondere die klinische Ethik denkbar –, werden pragmatistische Ansätze im deutschsprachigen Raum bis heute eher rudimentär rezipiert. (shrink)

Particle theories intend to describe the fundamental constituents from which all matter is constructed and the interactions among them. These constituents include atoms and molecules as well as their subatomic constituents, nuclei and their component parts including elementary particles. We consider an alternative to the usual particle theories, but dealing with the same phenomena. We call these theories ‘QT’s’. This is an attempt to provide a formal description of the essential features of elementary particle theories within the framework of metatheoretical (...) structuralism. (shrink)