Motivated by controversies surrounding the continued employment of poverty porn in humanitarian business, we initiated two 2 × 2 × 2 experiments to examine the extent to which humanitarian ads that utilize poverty porn images weaponize fundraising. Informed by negative state relief and Affect Intensity Theory, the two investigations explored the effects on study participants of the inclusion within ad appeals of images of starving children, ad spokespeople of disparate gender and ethnicity, and different types of message frame. A 2 (...) (protest emotive vs. informative message) × 2 (male vs. female announcer) × 2 (White British or Black African ethnicity) between-subjects eye track experiment ( n = 236) revealed that an informative message with a White female announcer attracted the most attention. Next, a survey ( n = 667) was completed, which recorded participants’ levels of affect intensity, advertising skepticism, and donation intention. The results suggested that a White British female announcer was more likely to engage potential donors than a male and/or non-White spokesperson. The implications of the findings are discussed in light of how poverty porn might work in practice. (shrink)

The twelve essays by Kendall Walton in this volume address a broad range of issues concerning the arts. Walton introduces an innovative account of aesthetic value, and explores relations between aesthetic value and values of other kinds. His classic 'Categories of Art' is included, as is 'Transparent Pictures', his controversial account of what is special about photographs. A new essay investigates the fact that still pictures are still, although some of them depict motion. New postscripts have been added to (...) several of the reprinted essays. (shrink)

In this book Paddy McQueen examines the role that 'recognition' plays in our struggles to construct an identity and to make sense of ourselves as gendered beings. It analyses how such struggles for gender recognition are shaped by social discourses and power relations, and considers how feminism can best respond to these issues.

In this paper I defend dependence on moral testimony. I show how going defenses of dependence on moral testimony have portrayed it as second-best by centering on how and why it is an important means to overcoming our defects. I argue that once we consider the pervasiveness of moral testimony in the context of intimate relationships, we can see that the value of dependence on moral testimony goes beyond this: it is not only our flaws and limitations that justify our (...) dependence on moral testimony, but also the importance of such dependence for the flourishing of our intimate relationships. On my view, dependence on moral testimony is not simply for those who cannot realize the ideals of moral agency; it is among those ideals. (shrink)

That photography is a supremely realistic medium may be the commonsense view, but—as Edward Steichen reminds us—it is by no means universal. Dissenters note how unlike reality a photograph is and how unlikely we are to confuse the one with the other. They point to “distortions” engendered by the photographic process and to the control which the photographer exercises over the finished product, the opportunities he enjoys for interpretation and falsification. Many emphasize the expressive nature of the medium, observing that (...) photographs are inevitably colored by the photographer’s personal interests, attitudes, and prejudices.1 Whether any of these various considerations really does collide with photography’s claim of extraordinary realism depends, of course, on how that claim is to be understood.Those who find photographs especially realistic sometimes think of photography as a further advance in a direction which many picture makers have taken during the last several centuries, as a continuation or culmination of the post-Renaissance quest for realism.2 There is some truth in this. Such earlier advances toward realism include the development of perspective and modeling techniques, the portrayal of ordinary and incidental details, attention to the effects of light, and so on. From its very beginning, photography mastered perspective . Subtleties of shading, gradations of brightness nearly impossible to achieve with the brush, became commonplace. Photographs include as a matter of course the most mundane details of the scenes they portray—stray chickens, facial warts, clutters of dirty dishes. Photographic images easily can seem to be what painters striving for realism have always been after. 2. See André Bazin, “The Ontology of the Photographic Image,” What is Cinema?, trans. Hugh Gray, vol. 1 , p. 12; all further references to this work, abbreviated “OPI,” will be included in the text. See also Rudolf Arnheim, “Melancholy Unshaped,” Toward a Psychology of Art: Collected Essays , p. 186. Kendall L. Walton is professor of Philosophy at the University of Michigan. He is currently completing a book on representation in the arts. (shrink)

In his discussion of the rational soul as form of the body in Summa Theologiae I.76.1, St. Thomas Aquinas largely devotes his response to the consideration and elimination of a few competing accounts of the relationship between the human body and soul. After rejecting these alternatives, he concludes that his account, on which the soul is the substantial form of the body, must be correct. I argue that Aquinas’s argument, which seems to involve a hasty move to affirm his own (...) view, in fact reveals a specific and plausible set of desiderata based on Aristotle’s definition of the human being as a rational animal in the category of substance. Aquinas’s argument, therefore, provides the constraints on any viable account of human ontology. Moreover, given his metaphysical framework, only his hylomorphic account can satisfy the desiderata. These considerations allow us to understand and appreciate Aquinas’s argumentative strategy more fully. (shrink)

In nelson goodman's "languages of art" a symbol system must be 'finitely differentiated', both syntactically and semantically, to count as a 'notation'. goodman's formulations of these differentiation requirements are seriously defective. it is shown that most of the examples of systems which he claims fail these requirements, do not fail them as they are stated. reformulations of the two requirements are offered, which accord with the examples and seem otherwise acceptable.

In this paper, I explore the role that regret does and should play in medical decision-making. Specifically, I consider whether the possibility of a patient experiencing post-treatment regret is a good reason for a clinician to counsel against that treatment or to withhold it. Currently, the belief that a patient may experience post-treatment regret is sometimes taken as a sufficiently strong reason to withhold it, even when the patient makes an explicit, informed request. Relatedly, medical researchers and practitioners often understand (...) a patient’s post-treatment regret to be a significant problem, one that reveals a mistake or flaw in the decision-making process. Contrary to these views, I argue that the possibility of post-treatment regret is not necessarily a good reason for withholding the treatment. This claim is justified by appealing to respect for patient autonomy. Furthermore, there are occasions when the very reference to post-treatment regret during medical decision-making is inappropriate. This, I suggest, is the case when the decision concerns a “personally transformative treatment”. This is a treatment that alters a person’s identity. Because the treatment is transformative, neither clinicians nor the patient him/herself can ascertain whether post-treatment regret will occur. Consequently, I suggest, what matters in determining whether to offer a personally transformative treatment is whether the patient has sufficiently good reasons for wanting the treatment at the time the decision is made. What does not matter is how the patient may subsequently be changed by undergoing the treatment. (shrink)

Many women identify sterilisation as their preferred form of contraception. However, their requests to be sterilised are frequently denied by doctors. Given a commitment to ensuring women’s reproductive autonomy, can these denials be justified? To answer this question, I assess the most commonly reported reasons for a denied sterilisation request: that the woman is too young, that she is child-free, that she will later regret her decision, and that it will lower her well-being. I argue that these worries are misplaced (...) and hence insufficient reasons for denying a request. I also argue that even if concern for patient welfare provides doctors with a valid reason to withhold sterilisation, this is overriden by respect for patient autonomy and the importance of enabling women’s reproductive control. Consequently, I suggest that adequately informed, decision-competent women should have their requests for sterilisation agreed to, even if they are young and/or child-free. In addition, I examine the impact of pronatalism on how women’s requests are understood and responded to by doctors. I show that the equation of women with motherhood can make it unjustifiably hard for them to access sterilisation, especially if they are child-free. Consequently, part of ensuring women’s access to sterilisation involves challenging pronatalist beliefs and practices. (shrink)

ABSTRACT The current paradigm of educational theory as‘emergent in practice’ might sooner have provoked, and here does provoke, an analysis of the distinctive profile of educational practice. This practice is shown to be (inter alia) ‘philosophical’ by virtue of its integral quest for a coherent view of life. A theory that is adequate to this practice will be a‘cluster’ of four interconnected ‘discourses’ (each already in use within mature practice itselfl, not only deliberative and evaluative discourses but also utopian and (...) scientific ones. The curriculum of teacher education, too, should extend to all of these discourses. (shrink)

My aim in this paper is to argue against what I call “epistemic” pessimism about moral testimony. Epistemic pessimists argue that moral testimony fails to transmit epistemic warrant as non-moral testimony does. I reject epistemic pessimism by defending theNo Difference Thesis, that there is no in principle difference between the transmission of epistemic warrant by moral and non-moral testimony. The main thrust of my argument is that there is a goodprima faciecase to be made for the thesis, namely, that it (...) is supported by all of the major current epistemological views of testimonial warrant, both reductionist and non-reductionist. After making this case, I consider five pessimist attempts to undermine theNo Difference Thesis, and argue that none of these attempts succeeds. So, in the absence of any other compelling criticisms, we are justified in rejecting epistemic pessimism and accepting theNo Difference Thesis. (shrink)

From 8 February until at least 19 April 1686, the Dublin Philosophical Society was occupied with a prodigiously talented young girl whose name was never recorded. She was less than eleven years of age, but still much older than the society itself, which had begun meeting less than three years previously. Although one of many wonders engaging the curiosity of the nascent society, this girl served a surprising range of purposes, so that accompanying her anonymity was a curious malleability. Pressed (...) into several different roles and identities, her exploitation affords a glimpse into the various qualities that could make a spectacle useful in a philosophical climate that was unique among the British Isles. The use of this girl therefore not only sheds light on the needs of a less familiar learned society, but also shows how these could differ from those of its better-understood counterparts. For a period of time, it was the versatility not of the gentlemen in Dublin, but of the prodigy they used, that best served this group on the periphery. (shrink)

In fifteen essays-one new, two newly revised and expanded, three with new postscripts-Kendall L. Walton wrestles with philosophical issues concerning music, metaphor, empathy, existence, fiction, and expressiveness in the arts. These subjects are intertwined in striking and surprising ways. By exploring connections among them, appealing sometimes to notions of imagining oneself in shoes different from one's own, Walton creates a wide-ranging mosaic of innovative insights.

Written by one of the foremost and widely-respected writers in the field, this volume sheds new light on the forms and premises of the communicative experience. In doing so, it challenges the theoretical positions of marxist and "political economy of media" analysts who focus largely on the structure of economic and social power within the media. Instead, Scannell explores the structuring of engagement of the viewer/listener with the broadcaster by analysing the communicative intentions of the broadcaster and the understanding by (...) the audience of those intentions. This powerful and accessible book makes an important contribution to media studies in showing students how the history of the media can be enriched by communications theory. (shrink)

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action , in a sense which I explained . This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts . His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)

Poetry is a literary art, and is often examined alongside the novel, stories, and theater. But poetry, much of it, has more in common with music, in important respects, than with other forms of literature. The emphasis on sound and rhythm in both poetry and music is obvious, but I will explore a very different similarity between them. All or almost all works of literary fiction have narrators—so it is said anyway—characters who, in the world of the fiction, utter or (...) write the words of the text thereby reporting the events of the story. But there is a very different way of understanding literary works, one applicable especially to poetry. Much music can be understood in a similar manner, and doing so nicely explains several important characteristics of listen-ers’ experiences. (shrink)

My great-grandfather died before I was born. He never saw me. But I see him occasionally—when I look at photographs of him. They are not great photographs, by any means, but like most photographs they are transparent. We see things through them.Edwin Martin objects. His response consists largely of citing examples of things which, he thinks, are obviously not transparent, and declaring that he finds no relevant difference between them and photographs: once we slide down the slippery slope as far (...) as photographs there will be not stopping short of absurdity. The examples fail in their purpose, but they will help to clarify the reasons for the transparency of photographs. Several of them can be disposed of by noting that they jeopardize the transparency of photographs only if they jeopardize the very possibility of perception. The others appear to reflect a misconception of the issue before us and the nature of my claim.To perceive something is, in part, to have perceptual experiences caused by the object in question. This is scarcely controversial. It is also uncontroversial that additional restrictions are needed—not all causes of one’s visual experiences are objects of sight—although exactly what the required restrictions are is a notoriously tricky question. One important restriction is that the causation must be appropriately independent of human action, in a sense which I explained. This, I argued, is what distinguishes photographs from “handmade” pictures, which are not transparent. Seismographs and footprints are caused just as “mechanically” as ordinary photographs are. So are photographs that are so badly exposed or focused that they fail to present images of the objects before the camera. So, also, are the visual experiences of those who look at seismograms, footprints, and such badly focused or exposed photographs. Yet we obviously do not see the causes of these things through them, Martin claims. How is it, then, that we see through ordinary photographs? Kendall L. Walton is professor of philosophy at the University of Michigan and author of a book on representation in the arts. His previous contribution to Critical Inquiry, “Transparent Pictures: On the Nature of Photographic Realism,” appeared in the December 1984 issue. (shrink)

In the last few decades game theory has emerged as a powerful tool for examining a broad range of philosophical issues. It is unsurprising, then, that game theory has been taken up as a tool to examine issues in the philosophy of religion. Economist Steven Brams (1982), (1983) and (2007), for example, has given a game theoretic analysis of belief in God, his main argument first published in this journal and then again in both editions of his book, Superior Beings. (...) I have two main aims in this paper, one specific and one general. My specific aim is to show that Brams’ application of game theory to examine belief in God is, in particular, deeply flawed in two respects. My general aim is to show that any game-theoretic model in which a human being and God are players can only succeed at the cost of abandoning the assumption that God is omnibenevolent. (shrink)

The reader's access to the fictional world of a novel is mediated by the narrator, when there is one; the fictional world is presented from the narrator's perspective. do depictions ever have anything comparable to narrators? apparent artists sometimes have a certain perspective on the fictional world. but they don't mediate our access to it; the fictional world is presented independently of their perspective on it. depictions do present fictional worlds from certain perspectives, but not usually the perspectives of any (...) fictional characters. however, there are characters in some special depictions, especially certain films, who function very much like narrators. (shrink)

Over the past 25 years, migrant detention and criminalisation has steadily increased in the United States. This state of affairs has triggered social workers to advocate through policy and service on behalf of migrants. In order to evaluate contemporary practice, a critical position is generated through a genealogy of social work practice with migrants where the colonial archeology of contemporary social work practice is found in the history of the settlement movement. Here, an irony becomes apparent within social work. Social (...) work practice is a settler colonialism paralleled by Gayatri Spivak's reading of colonial discourses resulting in the subaltern condition. Following Spivak's analysis, social work advocacies affirm migrant subalternity by re-presenting the migrant as an image of nonagentive victimhood while simultaneously representing migrants through political advocacies on their behalf. As a liberation ethics counter to the colonial discourses, Spivak's exit of subalternity as the road to hegemony is drawn for social work practice. In this effort, Indigenous Action Media's distinction between allies and accomplices is central to develop a social work practice as an ethics of liberation. Social workers thus become accomplices with criminalised and detained migrants on the road to hegemony. (shrink)

One minor problem in understanding Bradley's moral philosophy is that of how he manages to combine a reverence for the ordinary man's moral sense with what amounts almost to contempt for the actual precepts of popular morality. The reverence seems clear. At the outset of Ethical Studies Bradley appears as the great defender of the plain man against the depredations of theorizing and cultivation. Contemporary moral philosophers were too sophisticated, with their cavalier disregard of the moral feelings and convictions of (...) uneducated people. Admittedly popular moral views had their limitations: they were neither all-comprehensive nor everywhere consistent. Still, ‘if we want a moral sense that has not yet been adulterated, we must not be afraid to leave enlightenment behind us’. (shrink)

_Outlines a mystical theology and experience of the sacred founded on the absence of god._.

This paper uses the concepts of slavery, citizenship, the body and political subjectivity to interrogate how gendered bodies are produced, regulated and normalised. It explores the ‘wrong body’ claim within transsexual narratives to analyse how we can be enslaved by/to our body. The coercive force of embodied existence is demonstrated by examining how gender norms act on us through our bodies, thus identifying the body as a major conduit of power. It argues that the ‘wrong body’ claim must be understood (...) as a discursive construction that is rendered possible by established gender norms and practices, which place heavy restrictions on the available actions of individuals. These norms and practices are linked to the normalising processes of becoming an acceptable citizen. It is argued that the enslaving effects of embodiment can be mitigated through constructing alternative narratives of gender based upon performativity and fluidity. Such alternative gender narratives are used to contest and disrupt the meaning of the acceptable citizen, thus opening up new claims for citizenship and new forms of embodied subjectivity. These narratives are then used to critique the medical community's understanding and treatment of transsexuality, which is itself a site of coercion and normalisation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rhetorical Maneuvers:Subjectivity, Power, and ResistanceKendall R. Phillips and James P. ZappenA sense of subjectivity as fluid, dynamic, and multiple has become almost orthodox throughout the humanities. The widespread influence of poststructural thought has seemingly routed earlier Enlightenment notions of a unified, transcendent subject and opened the door for critical approaches to the numerous and changing manifestations of human subjectivity. The fluidity of the human subject, however, is not without (...) its bounds or constraints. Indeed, the same line of poststructural thinking that served to de-center the Enlightenment subject, especially the work of Michel Foucault, also stipulated that the subject was positioned by larger formations of discourse over which they had limited if any control. These two sides of poststructural subjectivity—its fluidity and its positioning—establish not so much two divergent approaches, but the two poles between which the human subject can be thought to operate. In turn the two poles of the apparent fixity of the subject position and the seeming fluidity of the subjectivity manifested within that position suggest the kind of productive tension through which we are simultaneously limited and enabled by the discourse formations within which we operate and against which we, at times, resist.This productive tension between the multiplicity of the subject and the singularity of the subject position has, of course, been the focus of numerous inquiries. In his later work, Foucault attended to the processes by which the subject makes itself an object upon which work might be done and urged a more aesthetic approach to the continuous crafting of the self.1 Along similar lines, Judith Butler has conceived of the subject in terms of its performativity and the ways that the "I" is crafted through numerous and fluid citations of existing power relations. Conceived in this way, the notion of the "self" is a constantly changing object crafted and re-crafted out of the points of identification provided in the exterior fields of power and knowledge. These points of identification, in turn, provide symbolic anchors by which a subject is moored, at least temporarily, into a particular subject position within which they become identifiable and intelligible in terms of the broader formation of discourse. [End Page 310]In addition to posing a serious challenge to Enlightenment philosophy, this conception of the self as fluid and dynamic presents some vexing questions concerning the practices of self and the capacity of a subject to offer any meaningful challenge to the formations of discourse that constitute its existence. As Butler puts the problem, "The paradox of subjectivation (assujetissement) is precisely that the subject who would resist such norms is itself enabled, if not produced, by such norms" (1993, 15). The theoretical concerns over the relationship between agency and subjectivity also impact upon a series of political questions surrounding the nature and possibility of identity politics and recent debates concerning the importance and efficacy of gaining "recognition" as a political move.2 Whatever one's position within such debates, it is clear that the question of subjectivity and its concomitant questions of subjectivation and agency must be addressed in order to conceive of any kinds of democratic politics.The question of the subject, then, clearly entails broad philosophical and political implications. Rhetorical scholars have entered this conversation with a particular concern for the practices that both constitute and challenge the constitution of the self and many of these scholars have attended specifically to the points of friction between prescribed positions in which a subject is constituted and the dynamic nature of subjectivity as performed. Following from the works of Foucault, Barbara Biesecker (1992), for instance, urges attention to the canon of style as a crucially rhetorical element in the processes by which the individual negotiates relations of power, knowledge, and subjectivity. In a similar vein, Bradford Vivian draws from the works of Gilles Deleuze and Felix Guattari to suggest that rhetoricians recognize "that the self may be conceived as a form—a rhetorical form—that exists only in its continual and aesthetic creation, in its indefinite becoming" (2000, 304). The indefinite nature of this becoming is, for both Vivian and Deleuze and Guattari, a politically crucial insight into the ways that... (shrink)