This article examines Plato’s understanding of moderation. I begin with a brief discussion of Plato’s Charmides, the dialogue in which Socrates asks, “What is moderation?” in order to frame a detailed treatment of key passages in Plato’s Republic where we find a definitive answer. I show the progress of the Republic to be an intentional development on Plato’s part, moving readers from a conventional understanding of moderation as mastery to a more compelling ideal: moderation as a harmony of the city (...) and of the soul. Bringing moderation out from under the shadow of justice illuminates the dialogue’s otherwise perplexing presentation of the relationship between these two virtues and helps us to see both the role moderation plays in Plato’s thought, and what his vision might contribute to our own understanding of the virtue. (shrink)

This paper aims to position the birth of the Medical Humanities movement in a greater historical context of twentieth century American medical education and to paint a picture of the current landscape of the Medical Humanities in medical training. It first sheds light on the model of medical education put forth by Abraham Flexner through the publishing of the 1910 Flexner Report, which set the stage for defining physicians as experimentalists and rooting the profession in research institutions. While this paved (...) the way for medical advancements, it came at the cost of producing a patriarchal approach to medical practice. By the late 1960s, the public persona of the profession was thus devoid of humanism. This catalyzed the birth of the Medical Humanities movement that helped lay the framework for what has perpetuated as the ongoing incorporation of humanistic subjects into medical training. As we enter a time in medicine in which rates of burnout are ever-increasing and there are growing concerns about a concomitant reduction in empathy among trainees, the need for instilling humanism remains important. We must consequently continue to consider how to ensure the place of the Medical Humanities in medical education moving forward. (shrink)

The doctor-patient relationship is usually seen and accepted as a giving-taking association, in which the doctor is a giver and the patient is a taker. The paper challenges such a one-way relationship, and stresses the patient as a giver and the doctor as a receiver. The patient is described as a source for the emotional development of the doctor, and as a source of knowledge. He is also a source for what could be called life experience. By serving as a (...) source for these three elements, the patient is also seen as a source for reward. There is a danger of under-utilisation of this reward by the doctor, when (1) he is engaged only in giving, (2) he wilfully obstructs the channel of information, and (3) he feels saturation called by the doctor experience. This under-utilisation will ultimately lead to medical parasitism. This parasitism is seldom recognised by the patient, because the arrest of development of a doctor is usually hardly noticed, and this will lead to neglect of the patient, so that the trade between doctor and patient becomes unfair, as the long-term investment which the patient has placed in the doctor, does not pay off any longer. (shrink)

This paper describes the Gender Equity Project at Hunter College of the City University of New York, funded by the U. S. NSF ADVANCE Institutional Transformation Award program. ADVANCE supports system-level strategies to promote gender equity in the social and natural sciences, but has supported very few teaching-intensive institutions. Hunter College is a teaching-intensive institution in which research productivity among faculty is highly valued and counts toward tenure and promotion. We created the GEP to address the particular challenges that faculty, (...) especially White women and faculty of color, face in maintaining research programs and advancing in their careers at teaching-intensive institutions. During the course of the ADVANCE award, its centerpiece was the Sponsorship Program, a multifaceted paid mentorship/sponsorship program that paired each participant with a successful scholar in her discipline. It offered extensive professional development opportunities, including interactive workshops and internal grants to support research. The GEP helped change key policies and practices by ensuring that all faculty were treated fairly in areas like provision of research start-up funds and access to guidance on how to prepare for tenure and promotion. Qualitative and quantitative evidence suggests that participation in the Sponsorship Program boosted research productivity and advanced the careers of many of the women who participated; the Program was highly rated by all participants. Some of the policy and practice changes that the GEP helped bring about were sustained at Hunter beyond the award period and some were adopted and disseminated by the central office of CUNY. However, we were not able to sustain the relatively expensive Sponsorship Program. We share the lessons we learned, including that creating a diverse, successful social and natural scientific workforce requires sustained support of female faculty employed at teaching-intensive colleges. We acknowledge the difficulties of sustaining gains, and offer ideas about how to make the case for gender equity when women seem to be doing “well enough.” We underscore the imperative of building support for women’s research in teaching-intensive institutions, where most women scientists are employed, and well over 90% of all college students—a disproportionate percentage of whom are female, minoritized, or both—are educated. (shrink)

Questions about the status of literary truth are as old as literary criticism, but they have become both more intricate and more compelling as literature has grown progressively more self-conscious and labyrinthian in its dealings with "reality." One might perhaps read The Iliad or even David Copperfield without raising such issues. But authors like Gide , Nabokov, Borges, and Robbe-Grillet seem continually to remind their readers of the complex nature of literary truth. How, for instance, are we to deal with (...) a passage like the following from William Demby's novel The Catacombs:"When I began this novel, I secretly decided that, though I would exercise a strict selection of the facts to write down, be they 'fictional' facts or 'true' facts taken from newspapers or directly observed events in my own life, once I had written something down I would neither edit not censor it ."1What does this sentence mean? When an apparently fictional narrator distinguishes between "fictional" and "true" facts, what is the status of the word "true"? It clearly does not mean the same as "fictional," for he opposes it to that term. Yet it cannot mean "true" in the sense that historians would use, for he calls what he is writing a novel, and even if he quotes accurately from newspapers, the events of a narrator's life are not "historically" true. · 1. William Demby, The Catacombs , p.93. Peter J. Rabinowitz, assistant professor at Kirkland College, is currently working on articles on Raymond Chandler, Faulkner, and Dostoyevsky and is, as well, a music critic for the Syracuse Guide. He wrote his doctoral dissertation in comparative literature on the philosophical implications of Nabokov's use of humor and terror. "Truth in Fiction" is the first article he has had published in a scholarly journal. (shrink)

First published in 1993. Routledge is an imprint of Taylor & Francis, an informa company.

This is a qualitative descriptive study of how competency to take care of oneself and one's financial affairs was evaluated in New York City during the years 1989-1991 by the Human Resources Administration's Visiting Psychiatric Service . Most VPS clients are indigent senior citizens. A visit by VPS can result in forced institutionalization or lost control over one's finances. Data were collected from interviews with key informants , written materials about VPS, court cases and a report summarizing a recent City (...) Council investigation of VPS. Major problems concerning how VPS operated were found. VPS conducted competency evaluations in such a way that some people's rights may have been suspended inappropriately and others may not have been given the type of intervention they needed. These problems appear to stem from several interlocking factors: VPS operates with very little public exposure of its work. Most clients served had in essence little recourse to respond through legal channels to VPS recommendations that may have been based on faulty evaluations. In most cases the court approved the actions recommended by VPS. This study highlights dangers of the system and the need to change the way that competency is evaluated. (shrink)

Derek Longhurst’s rhetorical strategies don’t leave me much room to maneuver. By constructing my essay in such a way that we are opponents, he offers only two choices: I can recant or enter into battle. Actually, I would rather do neither; I agree with most of what he says and would like a chance to explore those points where we differ. But in order to do that, it is first necessary to see where our differences really lie; and Longhurst’s response (...) does not make it easy.Granted, some of his criticisms are sound. He is right that I use the word “we” too loosely and that I sketched out my argument on an extremely abstract level, which resulted in, among other things, a blurring of the differences between American and British literature. But more often than not, Longhurst attacks me for taking positions that I do not in fact hold. For instance, he suggests that I believe the categories “popular” and “serious” to be fixed, and that my scheme would therefore shatter when confronted with a text like The Citadel, which was regarded as “both ‘serious’ and ‘popular.’ ” Yet my essay was intended precisely to offer a way to talk about such cases—of which The Glass Key is one—and while my solution may have its flaws, the rigidity of categories that Longhurst attacks it for is surely not one of them. Peter J. Rabinowitz is associate professor of comparative literature at Hamilton College. He is the author of Before Reading , a book about the conventions of reading, and is also active as a music critic for such publications as Fanfare and Ovation. His previous contributions to Critical Inquiry are “Truth in Fiction: A Reexamination of Audiences” , “Who Was That Lady? Pluralism and Critical Method” , and “The Turn of the Glass Key: Popular Fiction as Reading Strategy”. (shrink)

Mainstream thought on environmental justice emphasizes disparities between populations in terms of their exposure to environmental risks. Climate change has recently shifted attention from vulnerability to responsibility, with much of the research and dissemination of results accentuating differential contributions on the part of various groups to CO2 emissions and their accumulation in the atmosphere. But efforts to monitor, mitigate and adapt to climate change are largely premised on sovereign states as the main units of analysis, and on comparisons between them (...) as the primary tool for designing policy. This approach, which reifies climate change as a technical, distant and detached issue, arrests the long overdue politicization of the atmosphere. This Article, which uses data from Israel on differentiated levels of CO2 emissions by income decile, suggests that hitherto overlooked in-country disparities in CO2 emissions are an integral part of the problem and of potential ways to tackle it. Offering a critique of attempts to use distributive justice as a basis for a global climate pact, it calls for further in-country analysis of emissions and a better understanding of how the outcomes of those attempts might become relevant to more people globally. Such insights, it argues, are essential for climate policies to become politicized and thus gain prominence and urgency in political debates, campaigns, and eventually on the executive agenda of all levels of government. (shrink)

Even among critics not particularly concerned with detective fiction, Dashiell Hammett’s fourth novel, The Glass Key , is famous for carrying the so-called objective method to almost obsessive lengths: we are never told what the characters are thinking, only what they do and look like. Anyone’s decisions about anyone else’s intentions are interpretive decisions, dependent on correct presuppositions—on having the right interpretive key. The novel’s title, in part, refers to this kind of key. Ned Beaumont, the protagonist, has to decide (...) how to govern his relationship with Janet Henry; one of his major clues to her mind is a dream that she tells him, a dream that climaxes in an attempt to lock a door against an onslaught of snakes. Dream interpretation is difficult enough to begin with, and Janet Henry compounds that difficulty by telling the dream twice. In the first version, the attempt to lock the door succeeds; in the second, the key turns out to be made of glass and it shatters. Ned Beaumont, in deciding which dream to us as his key, chooses the second —but it is a choice based on an intuitive mix of experience and faith, knowledge and hunch.A reader often faces the same difficulties that Ned Beaumont does. Reading a book, too, requires us to make a choice about what key to use to unlock it, and that choice must often be based on an intuitive mix of experience and faith, knowledge and hunch. For example, as I shall show, the experience of reading certain texts—not all, but a significant number of them—is problematic because it depends in part on whether the reader has chosen, before picking them up, to approach them as popular or serious. My argument hinges on two prior claims. First, I contend that one way of defining genres is to consider them as bundles of operations which readers perform in order to recover the meanings of texts rather than as sets of features found in the texts themselves. To put this crudely but more modishly, genres can be viewed as strategies that readers use to process texts. Second, I argue that popular literature and serious literature can be viewed as broad genre categories. Peter J. Rabinowitz is associate professor of comparative literature at Hamilton College. He is currently working on a book about literary conventions and is also active as a music critic for such publications as Fanfare and Ovation. His previous contributions to Critical Inquiry are “Truth in Fiction: A Reexamination of Audiences” and “Who Was That Lady? Pluralism and Critical Method”. (shrink)

To be sure, I agree that Nabokov creates a "sense of dizzying complexity," but I don't see how Dowling accounts for it at all. First of all, the passage he cites from Pnin is not an instance of the Liar's Paradox. The Liar's Paradox occurs when a single person claims that he or she always lies—for in that case, there is no logically consistent way to call the claim either true or false. In Pnin, however, we have something quite different: (...) a person, whom we suspect of often filtering the truth to serve his own ends, claims that someone else has called him a liar. That's confusing, perhaps, but not logically inconsistent; for instance, it would be logically inconsistent to say that Pnin is wrong, or is at least exaggerating, when he says that you shouldn't believe anything that the narrator says. Indeed, Pnin is wrong, and the careful reader can sort out the narrator's claims with a fair degree of accuracy, at least on the second reading. The odd sensation that Pnin inspires comes not because there's no logically consistent way to determine the truth or falsity if the narrative but rather because we can figure out when and how the narrator has slanted his statements only once we have finished the book, for only the last chapter gives us the evidence we need to interpret the earlier chapters properly. Peter J. Rabinowitz, assistant professor of comparative literature at Hamilton College, is the author of articles on Raymond Chandler, Faulkner and Dostoyevsky, and literary borrowing and is, as well, a music critic for Fanfare. (shrink)

A large chorus of voices has grown around the claim that theistic belief is epistemically suspect since, as some cognitive scientists have hypothesized, such beliefs are a byproduct of cognitive mechanisms which evolved for rather different adaptive purposes. This paper begins with an overview of the pertinent cognitive science followed by a short discussion of some relevant epistemic concepts. Working from within a largely Williamsonian framework, we then present two different ways in which this research can be formulated into an (...) argument against theistic belief. We argue that neither version works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Andromache and Euripidean TragedyNancy Sorkin RabinowitzWilliam Allan. The Andromache and Euripidean Tragedy. Oxford Classical Monographs. Oxford: Oxford University Press, 2000. xii + 310 pp. Cloth, $70.This is a workmanlike study of Euripides' Andromache, with a good and up-to-date bibliography. Allan's monograph successfully takes on most of the (many) significant criticisms of the play, in particular those concerning its alleged disunity, and argues that the play is more (...) interesting than it has been taken to be. Allan sets out to show that the play merits more attention than it has received, and he succeeds, at least with this reviewer; a classicist reviewer who has written on the play is, however, hardly a test case. Moreover, the assertion of interest is not a strong claim, and, given the constraints of academic writing, scholarly arguments for a quirky play like the Andromache are often less compelling than the literary work itself. [End Page 126]Allan's thesis, that "every play represents a distinct thematic and dramatic complex which merits individual attention" (267), is undeniably true. He further asserts that the play is calculated to surprise and that the noticeable dissonances in it are purposeful as well. The book is divided into chapters on myth, structure, characterization, rhetoric, the spread of Attic tragedy, gender, the chorus, and the gods, in that order. Allan highlights Euripides' creative use of myth, drawing attention to the elevation of Andromache and the simultaneous way in which Euripides turns Neoptolemus, who was the center of epic treatments of the myth, into a corpse. There are connections between Allan's argument about the structure of the unexpected and Euripides' handling of myth. In part, Euripides builds the structure of surprise that Allan detects through his use of novel mythic variations.The elements of flexibility and surprise that Allan emphasizes also appear in a different guise in his considerations of gender (chap. 6) and the gods (chap. 8). According to Allan, female characters are useful for exposing the tensions that emerge when heroic society encounters crisis (162), while he uses Euripides' treatment of the gods to contribute to the overall argument about the multiplicity of Euripidean tragedy.Allan sounds a similar note in discussing characterization. Here he emphasizes dissonance, the contrast of traditional and invented story, and warns against expecting the depth of characterization typical of narrative from later centuries. This is a salutary reminder of the aesthetic conventions of tragedy too often overlooked by readers of the modern era.Characterization not only grows out of structure, as Allan argues, but is developed by rhetoric. His goal in the chapter on rhetoric is "to reappraise the functions and importance of Euripidean rhetoric (defined more broadly than the mere use of forensic topoi) by placing it within the larger dramatic context of the plays, and by viewing them within the wider rhetorical context of fifth-century Athenian culture" (119). Allan's contention is that Euripidean tragedy shows the failure of persuasion because of the intervention of political power. He argues that Euripides uses the Sophistic arsenal for his own dramatic ends, never for its own sake; as he notes, rhetoric is closely related to characterization through the characters' self-presentation. As he also shows, in the Andromache and other plays of Euripides, the rhetoric cannot be separated from the fictional world of the play. Ultimately, according to Allan, rhetoric reveals the feature of adaptability, sharing it with his other analytic categories of structure, myth and characterization.Allan asserts that there is a philosophical aspect to a plot based on surprise, but here I was disappointed and would have liked to hear more. The claim seems to boil down to the statement that the play is about the fragility of fortune (41), and this seems little more than a restatement of the commonplace moralizing tag line--that we can't know what will happen. What is the philosophical significance of the flexibility and surprise?The chapters on the chorus and the gods underline Allan's point about flexibility in Euripides. His chapter on the chorus, he says, "aspires to indicate [End Page 127] how choral contributions function much more provocatively than is often appreciated, not... (shrink)

Documentary cinema is intimately tied to historical memory. Not only does it seek to reconstruct historical narrative, but it often functions as an historical document itself. Moreover, the connection between the rhetoric of documentary film and historical truth pushes the documentary into overtly political alignments which influence its audience.This essay describes and dissects the history and rhetoric of documentary cinema, tracing its various modes of address from the earliest moments of cinematic representation through its uses for ethnographers, artists, governments, and (...) marginal political organizations in the present. The different uses of documentary result in a wide variety of formal strategies to persuade the audience of a film's truth. These strategies are based on a desire to enlist the audience in the process of historical reconstruction. The documentary film differentiates itself from narrative cinema by claiming its status as a truth-telling mode. However, as a filmic construction, it relies on cinematic semiosis to convince its audience of its validity and truth. By looking at the history of documentary address, this essay outlines the rhetoric of persuasion and evaluates its effectiveness.The documentary calls upon its audience to participate in historical remembering by presenting an intimate view of reality. Through cinematic devices such as montage, voice-over, intertitles, and long takes, documentary provokes its audience to new understandings about social, economic, political, and cultural differences and struggles. The films actively engage with their world; however, often viewers respond to the same devices motivating classic Hollywood narratives. Thus the genre reinforces dominant patterns of vision.Recent challenges to the emotional manipulations of documentary deconstruct its forms and conventions so that the films interrogate not only historical memory but their own investment in its recreation. Imaginative documentaries, such as Claude Lanzmann's hoah, foreground their partial and contingent qualities, pushing viewers to question cinematic representation and its place in historical memory. Moreover, they ask audiences to think about their place in the films' meanings as well as their responsibility to the past and its interpretations. (shrink)

Can it be better or worse for a person to be than not to be, that is, can it be better or worse to exist than not to exist at all? This old 'existential question' has been raised anew in contemporary moral philosophy. There are roughly two reasons for this renewed interest. Firstly, traditional so-called “impersonal” ethical theories, such as utilitarianism, have counter-intuitive implications in regard to questions concerning procreation and our moral duties to future, not yet existing people. Secondly, (...) it has seemed evident to many that an outcome can only be better than another if it is better for someone, and that only moral theories that are in this sense “person affecting” can be correct. The implications of this Person Affecting Restriction will differ radically, however, depending on which answer one gives to the existential question. Melinda Roberts (2003) and Matthew Adler (2009) have defended an affirmative answer to the existential question using an assumption that one can asribe a zero level of wellbeing to a person in a world in which that person doesn't exist. Contrariwise, Derek Parfit (1984), John Broome (1999), and others have worried that if we take a person’s life to be better for her than non-existence, then we would have to conclude that it would have been worse for her if she did not exist, which is absurd: Nothing would have been worse or better for a person if she had not existed. The paper suggests that an affirmative answer to the existential question can avoid such absurdities: One can claim that, say, it is better for a person to exist than not to exist, without implying that it would have been worse for a person if she had not existed or that her level of wellbeing would then have been lower. (shrink)

Since the classical period, Jewish scholars have drawn on developments in philosophy to enrich our understanding of Judaism. This methodology reached its pinnacle in the medieval period with figures like Maimonides and continued into the modern period with the likes of Rosenzweig. The explosion of Anglo-American/analytic philosophy in the twentieth century means that there is now a host of material, largely unexplored by Jewish philosophy, with which to explore, analyze, and develop the Jewish tradition. Jewish Philosophy in an Analytic Age (...) features contributions from leading scholars in the field which investigate Jewish texts, traditions, and/or thinkers, in order to showcase what Jewish philosophy can be in an analytic age. United by the new and engaging style of philosophy, the collection explores rabbinic and Talmudic philosophy; Maimonidean philosophy; philosophical theology; and ethics and value theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Fictive and the Imaginary: Charting Literary AnthropologyPeter J. RabinowitzThe Fictive and the Imaginary: Charting Literary Anthropology, by Wolfgang Iser; xix & 347 pp. Baltimore: Johns Hopkins University Press, 1993, $55.00 cloth, $15.95 paper.Iser’s book argues that “the special character of literature is its production through a fusion” (p. xiii) of the fictive (“an act of boundary-crossing which, nonetheless, keeps in view what has been overstepped”) (pp. xiv-xv) (...) and the imaginary (“a featureless and inactive potential”) (p. xvii). As a consequence, he anchors his “different form of heuristics” (p. xiii) in two dense meditations on the history of these terms. The first, chapter 3, teases out the way “fiction” has been “thematized” in philosophical writings—with detailed explications, in particular, of the works of Bacon (who views fiction as an idol), Bentham (“who stands for a paradigm switch” [p. 112] in which fiction becomes “a mode of bridge-building” [p. 123]), Vaihinger (“fiction as a transparent posit” [p. 130]), and Nelson Goodman (who sees fictions in terms of worldmaking). The second, chapter 4, deliberates on the nature of the imaginary, with particular attention to Coleridge (who made “the last significant attempt” to treat imagination as a faculty [p. 186]), Sartre (for whom the imaginary is an act), and Cornelius Castoriadis (who has developed the notion of the “radical imaginary”).But while the book deals exhaustively with the twin terms of its main title, its relation to its subtitle is more vexed. Certainly, this book is not about anthropology in any conventional sense. Although Iser pays lip service to “culture-bound patternings” (p. 297), in fact his inquiry almost entirely ignores the pressures of particular cultural contexts; and to the extent that he deals with “the human condition,” he does so by universalizing from a narrow slice of the Western intellectual tradition. Nor, more surprisingly, is the book really very much concerned with literature. True, the second chapter—the most compelling—offers revealing insights into the literary fictionality of some specific instances of Renaissance pastoral; but it is significant that this analysis precedes, rather than follows from, Iser’s philosophical explorations. And while he returns, in his last chapters, to literature—specifically, to a notion of literature as play—this discussion is almost completely divorced from any engagement with actual literary texts. Glancing references to Tristram Shandy and Finnegans Wake, a slightly longer mention of Beckett’s Imaginary Dead Imagine: these serve as the springboards from which Iser makes sweeping transhistorical, crosscultural pronouncements about “the” text.The Fictive and the Imaginary makes heavy demands on its readers. Although Iser lashes out against “unwieldy structuralist terminology” (p. x), his own style is dense and abstract, and his basic terminology is muddled. For instance, he insists on the term “imaginary,” in contrast to such familiar terms as “imagination,” because it is “comparatively neutral” and “has not yet been permeated by [End Page 188] traditional associations” (p. 305)—yet his analysis often depends pivotally on treating “the imaginary” and “the imagination” as equivalents. Matters are made more difficult yet by Iser’s tendency to conflate two different tasks: elucidating the history of the discourse around the terms and finding the “true” nature of the fictive and the imaginary themselves.Then, too, as the summary above may suggest, the book has organizational quirks. Iser begins by insisting vigorously on a triad, replacing the distinction between fiction and reality with the three-pronged distinction of “the real, the fictive, and... the imaginary” (p. 1). But the definition of the real, oddly exiled to a footnote, is internally inconsistent (it refers simultaneously to “the empirical world” and to “the variety of discourses relevant to the author’s approach to the world”) (p. 305), and in any case, it is soon demoted to a minor character in the argument. Indeed, in the “Epilogue”—on mimesis and literary staging—the notions of the fictive and imaginary have vanished as well. One is left, then, with a clump of chapters that do not cohere into a single book, much less a unified argument. For all its scattered insights, The Fictive and the Imaginary does not meet the high standards set by... (shrink)