“I beg of you, Doctor, please don’t let Dr. Moore see my mother again. My sisters and I do not want him talking with us anymore.”So concluded my first conversation with Samir Zadeh. Our meeting had been purely accidental; as I walked onto the elevator going down from the Surgical ICU, he and one of his sisters were already on, coming down from another one of our hospital’s ICUs, from a floor above. Samir was a man in his early (...) 50s, and his sister, whom I would learn was actually a few years older, appeared younger than he. They were talking quietly when the doors opened, but as is often the case in elevators, especially in a hospital, as soon as I entered, their conversation stopped. We rode down to the bottom floor in silence. As we exited, I let them go first, a courtesy I had been taught by my parents, and they both thanked me, in the usual social way, and walked out into the lobby and then out of the building. I walked the same way.It was when we were about 25 feet from the building that Mr. Zadeh and his sister stopped, so that I caught up to them. As I did, Mr. Zadeh, a large man, maybe 6 feet tall and 250 pounds, with thinning hair and a well-groomed mustache, turned and said my name aloud, “Dr. Finder, may you be so kind as to talk?”. (shrink)

Background: New Zealand health and disability providers are expected to have local open disclosure policies in place, however, empirical analysis of these policies has not been undertaken. Aim: This study aims to examine the scope and content of open disclosure policies in New Zealand compare open disclosure policies in New Zealand, and provide baseline results for future research. Methods: Open disclosure policies were requested from all twenty New Zealand District Health Boards in June 2016. A total of twenty-one policies were (...) received, with nineteen policies included in the review. The data were analysed using conventional content analysis. Areas of identified guidance were categorised categorized under the headings: 1) identification of an adverse event, 2) actions before disclosure, 3) disclosure of harm, and 4) actions after disclosure. Results: A total of forty-six distinct areas of guidance could be categorized under the different phases of the open disclosure life-cycle. Conclusion: This review has identified significant unwarranted heterogeneity and important gaps in open disclosure documents in New Zealand which urgently needs to be addressed. Open disclosure policies which are both flexible and specific should enhance the likelihood that injured patients’ needs will be met. (shrink)

Physical activities are generally accepted as promoting important psychological benefits. However, studies examining martial arts as a form of physical activity and mental health have exhibited many methodological limitations in the past. Additionally, recent philosophical discussion has debated whether martial arts training promotes psychological wellbeing or illness. Self-efficacy has an important relationship with mental health and may be an important mechanism underpinning the potential of martial arts training to promote mental health. This study examined the effect of martial arts training (...) on the psychological construct of self-efficacy. A total of 283 secondary school students with a mean age of 12.76 (SD = 0.68) years were recruited to complete a time-limited (10-session) martial arts intervention, which was examined using a randomised controlled trial. Univariate ANOVAs found that the intervention improved the experimental group’s self-efficacy compared to the control group, which was sustained at follow-up. Regression analysis indicated that socio-educational status moderated this outcome. These findings support the martial arts-based intervention’s potential to improve self-efficacy and promote wellbeing through physical activity. Martial arts training may be an efficacious psychosocial treatment that can be used as a complementary approach to promote mental health. (shrink)

In this extended review essay we discuss the lectures on sexuality which Foucault delivered in the 1960s, published in a single volume in 2018. The first part of the volume comprises five lectures given at the University of Clermont-Ferrand in 1964 to psychology students. The second part is Foucault’s course ‘The Discourse of Sexuality’, given at the experimental University of Vincennes in 1969 in the philosophy department. We explore both the themes of the lectures, and the important editorial materials provided (...) by Claude-Olivier Doron which situate these themes in relation to recent developments in the history and philosophy of biology, gender and sexuality. These lectures provide some important and surprising additions to Foucault’s more familiar interest in sexuality, with discussion of plant and animal biology, sex differentiation, the question of sexual behaviour, perversion and infantile sexuality. (shrink)

Though John Stuart Mill's long employment by the East India Company did not limit him to drafting despatches on relations with the princely states, that activity must form the centrepiece of any satisfactory study of his Indian career. As yet the activity has scarcely been glimpsed. It produced, on average, about a draft a week, which he listed in his own hand. He subsequently struck out items that he sought to disown in consequence of substantial revisions made by the (...) Company's directors or the Board of Control. He also listed items that achieved publication as parliamentary papers and they amount to about ten per cent of his drafts. The two lists, published in the most recent volume of his Collected Works, reveal, at the least, the ‘political’ despatches from which he did not seek to dissociate himself. The despatches were not entirely his work and authorship in the conventional sense may not be assumed. They were the product of an elaborate process, in which many hands were engaged. At worst, they were his work in much the same way that an Act of Parliament is the work of the Crown Solicitor who drafts the bill. At best they were his as are the drafts of a civil servant who believes in policy statements that he prepares for his political masters. The greatest English philosopher and social scientist of the nineteenth century was, in his daily occupation, an employee. His Company was charged with initiating policies for the Indian states and they were subject to the control of a minister of the Crown. (shrink)

“Lambeth Palace is my Washpot. Over Fulham have I cast my breeches.” So declared the novelist and secularist H. G. Wells in a letter to his mistress, Rebecca West, in May 1917. His claim was that, because of him, Britain was “full of theological discussion” and theological books were “selling like hot cakes”. He was lunching with liberal churchmen and dining with bishops. Certainly, the first of the books published during Wells’s short “religious period”, the novel Mr. Britling Sees It (...) Through, had sold very well on both sides of the Atlantic and made Wells financially secure. Geoffrey Studdert Kennedy (“Woodbine Willie”) wrote that, “Everyone ought to read Mr. H. G. Wells’s great novel, Mr. Britling Sees It Through. It is a gallant and illuminating attempt to state the question, and to answer it. His thought has brought him to a very real and living faith in God revealed in Jesus Christ, and has also brought relief to many troubled minds among the officers of the British Army.” Yet, Wells’s God was explicitly a finite God, and his theology was far from orthodox. How can we account for his boast and for the clerical affirmation which he certainly did receive? This article examines and re-evaluates previous accounts of the responses of clergy to Wells’s writing, correcting some narratives. It discusses the way in which many clergy used Mr. Britling as a means by which to engage in a populist way with the question of theodicy, and examines the letters which Wells received from several prominent clerics, locating their responses in the context of their own theological writings. This is shown to be key to understanding the reaction of writers such as Studdert Kennedy to Mr. Britling Sees It Through. Finally, an assessment is made of the veracity of Wells’s boasting to his mistress, concluding that his claims were somewhat exaggerated. “Lambeth Palace is my Washpot, Over Fulham have I cast my breeches.” Mit diesen Worten erklärte der literarisch außergewöhnlich erfolgreiche und entschieden säkular denkende, kirchenkritische Schriftsteller und Science-Fiction-Pionier Herbert George Wells seiner Geliebten, dass seinetwegen Großbritannien “full of theological discussion” sei. Nicht ohne Eitelkeit schrieb er es seinem im September 1916 mit Blick auf den Krieg geschriebenen und stark autobiographisch gefärbten Roman Mr. Britling Sees it Through von knapp 450 Seiten zu, dass theologische Bücher reißenden Absatz fänden. Auch war er stolz darauf, liberale Kleriker zum Lunch zu treffen und von Bischöfen zum abendlichen Dinner eingeladen zu werden. In einer kurzen Phase seines Lebens war – oder inszenierte sich – Wells als ein frommer, gläubiger Mensch. Sein damals veröffentlichter Roman Mr. Britling Sees It Through verkaufte sich sowohl in Nordamerika als auch im Heimatland so gut, dass der Autor nun definitiv finanziell gesichert war. Der anglikanische Priester und Dichter Geoffrey Studdert Kennedy, der im Ersten Weltkrieg Woodbine Willie genannt wurde, weil er verletzten und sterbenden Soldaten in den Phasen der Vorbereitung auf den Tod Woodbine-Zigaretten anbot, empfahl die Lektüre von Wells’ “great novel” Mr. Britling mit den Worten: “It is a gallant and illuminating attempt to state the question, and to answer it. His thought has brought him to a very real and living faith in God revealed in Jesus Christ, and has also brought relief to many troubled minds among the officers of the British Army.” Allerdings war H. G. Wells’ Gott ein durchaus endlicher Gott, und seine Theologie war alles andere als orthodox. Wie lassen sich dennoch seine evidente Prahlerei und die emphatische Zustimmung zu seinem Roman in den britischen Klerikereliten erklären? Im Aufsatz werden zunächst einige ältere Deutungen der Zustimmung führender Kleriker zu Wells’ Roman untersucht und einige der dabei leitenden Deutungsmuster kritisch infrage gestellt. Deutlich wird, dass nicht wenige anglikanische Geistliche Mr. Britling dazu nutzten, um höchst populistisch das umstrittene Theodizeeproblem anzusprechen. Auch werden die Briefe prominenter Geistlicher an Wells analysiert, mit Blick auf ihre eigenen Publikationen. Diese Reaktionen haben stark Studdert Kennedys Haltung zu Mr. Britling Sees It Through beeinflusst. Besonders aufrichtig war Wells mit Blick auf sich selbst allerdings nicht. Die Selbstinszenierung gegenüber seiner Geliebten war einfach nur peinliche Übertreibung. (shrink)

From the end of the Enlightenment to the middle of the twentieth century philosophy took fascinating and controversial paths whose relevance to contemporary post-modernist thought is becoming increasingly clear. This volume traces the English-language side of the period, while also taking into account those continental thinkers who deeply influenced twentieth-century English-language philosophy. The story begins with Reid, Coleridge, and Bentham - who set the agenda for much that followed - and continues with a portrait of the nineteenth century's greatest British (...) philosopher, John Stuart Mill. It then surveys the cross-currents of thought at the end of the century, including American pragmatism, a movement never more influential than now. Finally, it assesses two phases of what John Skorupski calls `analytic modernism' - the revolution against the idealism of Moore and Russell, and the Viennese sequel whose project was to show that philosophy consists of pseudo-problems. (shrink)

The translation and the commentary of Mr. Muresan are 2 times welcomed. The translation will make known to Romanian reader this important philosopher. The commentary,parts of which I have read in the English translation, is one extremely original and critic,in the scholar sense of the term, a result of a detailed knowledge of ethical works and other works of Mill; he uses the rich critical literature elaborated mostly in the last years and especially by English language philosophers. Mr. Muresan transmits (...) the spirit of this critical tradition; but he surpasses it at the same time with his own daring interpretations. His book is a subtle contribution to research on Mill and on ethics in general, being useful not just in Romania, but anywhere it may be accessible in the philosophical world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Painting in Tongues:Faith-Based Languages of Formalist ArtKevin Z. Moore (bio)A philosophical problem is created by the incoherence between the earlier state and the later one.—Ian Hacking, Historical OntologyWhatever is happening to evidence-based treatment? When the facts contravene conventional wisdom, go with the anecdotes?—New York Times, "Science Times," February 14, 2006Cephalopods have a visual language that may be considered artful; humans have written and vocalized languages that are sometimes (...) artful; but it is doubtful that there is such a thing as a "language of art," particularly in the sense that twentieth-century formalists and their critics carelessly speak of one or many. Cephalopods flash color-forms on their hides to communicate intents and emotions, maybe even to project plans. They speak in tattooed tongues through neurologically embossed patterns and color field designs displayed on the skin. The large-eyed sea creatures communicate voicelessly in a visual language of pure color-forms, each species perhaps having its own dialect. Though not a full or official language by any means, their color-forms display the ideal that twentieth-century formalist artists sought to graphically realize (referential and conceptual immediacy, emotional coloring, communication via pure, that is, nonpictorial, form). Formalist inspired artists and their critic-expositors describe abstract pattern-painting as though it were a visual language equal to that of the cephalopod. Yet [End Page 40] although we can reasonably imagine cephalopods getting the correct message by observation, we cannot reasonably imagine observers getting any message at all, let alone the intended message, from abstractionist painting. This casts suspicion on the formalists' claims about visual language. Observers cannot and famously do not get anything "out" of formalist pattern paintings, though they do project quite a lot "into" them. The telling difference between octopus and artist? Cephalopods communicate visually—their survival depends on it. Formalists do not, though the survival and flourishing of their art depends upon the belief that they do.Notably, explanations of what exactly a formalist language of art is goes missing from accounts of sense and reference in the relevant literature, where we learn that this or that painting exhibits this or that language of art but never how this or that painting functions as a language of any sort. The "language of art" phrase, it seems, has the same force as mentioning truth or existence: it explains nothing. Talk of a language of art suggests merely that a painting exhibits a communicative intent; it does not explain how that intent is linguistically mediated. The phrase is ostensive and nominal, not descriptive and expository.Prior to the twentieth century there may have been some justification for this language since art was shaped by objective reference, identifiable codes (sign and symbol systems), and recognizable scenes (compositions) that made painting a language-like public media. Observers could see immediately or "read" paintings by observation as though they were reading a language. Images were shaped by observation; reference was fixed by convention. The formalist revolution in the late nineteenth and early twentieth centuries dismantled the public character of representation in painting. After the revolution, the new art that appeared was a sort of visual humpty-dumptyism, to invoke a language metaphor. Formalist imagery functioned the way words did for Mr. Carroll's Mr. Dumpty: they meant what the artist intended them to mean and not what observation or convention constrained them to mean. Reference and meaning were as arbitrary as the visual forms chosen to bear them. Once a communicative medium, painting became an expressive medium, the values of the latter superseding those of the former wholly or in part. Even when a formalist painting alluded to a conventional arrangement (a landscape or portrait, for example), the composition was as visually parodic of genre as Mr. Carroll's Jabberwocky was verbally parodic of narrative poetry, preserving syntax (form) but not the integrity of the formal agents of communication. Both are forms of nonsense, yet only one intentionally so.Styles of formalism do not facilitate the observation of intended reference; they are not effective forms of communication because they are not languages. If the basic function of a visual art is to communicate a specific... (shrink)

'The ethical landscape', the title given to part of a course devised by Mr. Moore, is described in full in this paper. The whole course is a new adventure in medical education designed to help students to explore the ethical problems in the practice of medicine. The 'ethical landscape' is seen through discussion based on passages from literature depicting doctors' and patients' dilemmas. As the results summarized in the tables show, the students found the course well worth while, and (...) thought that they had gained a new insight into the problems with which they would be confronted and also into their own personalities and those of their fellow students whom previously they had only known superficially. The Chairman of the course, Mr. Moore, was also subjected to assessment from his students, because on the skill of the Chairman such a course would fail or succeed. (shrink)

This paper explores the relationship between mania, or pathologically elevated mood, and philosophical theories of well-being. A patient, Mr. M., is described who oscillated between periods when he refused medication and periods when he was willing to accept it, and whose desires and life objectives were radically different in his medicated and unmedicated states. The practical dilemmas this raised are explored in terms of the three principal philosophical theories of well-being: hedonism, the desire fulfillment theory, and objectivism. None of these (...) adequately accounted for Mr. M.'s case: hedonism, because pleasure is increased in mildly manic states; desire fulfillment theories, because these suggest that an unending cycle of treatment and nontreatment would be in Mr. M.'s best interests; and objectivism, because, in a form that would be applicable to Mr. M., that theory brings with it substantial risks of paternalism. Four further philosophical approaches are explored briefly—approaches focusing on autonomy, rationality, personal identity, and illness, respectively—but these also provide no straightforward resolution of the clinical dilemmas. It is concluded that philosophical analysis, even if it does not resolve cases like Mr. M.'s, can deepen our understanding of the issues involved in clinical decision making in psychiatry, especially the importance of sensitivity to the patient's wishes and values; and conversely, that mild mania is an important "real life" case against which philosophical theories of well-being can be tested. (shrink)

Having read Prof. Housman's article in the Classical Quarterly of October 1907, it seemed to me worth while, when I was in Madrid last year, to examine the MS of Manilius, Matritensis 31, in those places where Prof. Housman notes that the testimony of Loewe and of Mr Ellis disagree, with the result that I have found Loewe's account of the reading, as given by Prof. Housman, to be correct in all places except the following.

In a reference letter for Feyerabend’s application to UC Berkeley, Carl Hempel writes that ‘Mr. Feyerabend combines a forceful and penetrating analytic mind with a remarkably thorough training and...

"The ontology of the 1899 paper may then be summed up as follows," says Mr. Hochberg. "There are two kinds of entities, existents and non-existents.... All existent entities are made up ultimately of simple concepts which are non-existent. Also, all other non-existent entities are likewise reducible to simple concepts. The category of existent entities includes simple objects, like yellow1, and complex objects, like Paul, as well as existential propositions. In addition to simple concepts, the category of nonexistent entities includes non-existential (...) propositions, and complex concepts like the concept of Paul." By "simple object," Hochberg means any complex of concepts in which a single adjectival concept, like red or yellow, is tied together by some ontological relation, R, involving containment, with the concepts existence and now. Any such composite, denoted by the words, e.g., R2, R2, etc. or by the words "red1," "yellow1," etc., is a particular, since it has temporal existence. Every complex composed of simple objects and only such complexes are likewise particulars, in contrast to simple or complex concepts, which are universals. Thus, as Hochberg interprets him, Moore in "The Nature of Judgment" denies existence to universals, while maintaining that particulars, and only particulars, exist. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The rhetoric of Principia Ethica, as of not a few philosophy books, is that of the clean break. Moore claims that the vast majority of previous writing on ethics has been misguided and that an entirely new start is needed. In its time, however, the book’s claims to novelty were widely disputed. Reviews in Mind, Ethics, and The Journal of Philosophy applauded the clarity of Moore’s criticisms of Mill, Spencer, and others, but said they were “not altogether original,” (...) had for the most part “already been brought out by other critics,” and were even “the standard criticisms.”1 To the Mind reviewer, “The book indicates throughout how strongly the author has been affected by Sidgwick’s views.”2 Hastings Rashdall rejected as historically inaccurate Moore’s claim that only Sidgwick before him had recognized that “good” is indefinable: “To say nothing of writers who (like Mr. Moore and myself) learned the doctrine largely from Sidgwick, I should contend that it was taught with sufficient distinctness by Plato ..., Aristotle, and a host of other writers who have studied in their school.”3 Rashdall also described Moore’s principle of organic unities as just “a new and striking way of stating a very old truth.”4 Some recent commentators have taken a similar line. Bernard Williams has said that much of Principia Ethica comes from Sidgwick,5 while Thomas Baldwin, discussing the book’s substantive values, has said the principle of organic unities “was expressly stated by Bradley,” while “McTaggart had for some years extolled the value of love, and the value of art is a central theme of romanticism.”. (shrink)