In an article titled, "Who Shall Live When Not All Can?", James Childress proposes a system for allocating scarce lifesaving medical resources based on random selection procedures. Childress writes of random selection procedures, [They] "cannot be dismissed as a ‘non-rational’ and ‘non-human’... without an inquiry into the reasons, including human values which might justify it." My thesis is that once we concentrate on determining the rationality of random selection procedures, we will see that Childress's claim that we cannot dismiss such (...) procedures as ‘non-rational’ is open to question. My claim will be that while both random selection and social worth procedures are rationally defensible systems, random selection procedures easily lead to specific choices that are objectively irrational, apart from the limited perspective of the random selection process itself. Keywords: allocation, random selection, rationality, rational decision-making, scarce resources, social worth CiteULike Connotea Del.icio.us What's this? (shrink)

Drawing upon Aristotle’s claim that when one wants to learn right conduct or virtue, one should emulate those who practice it, this paper describes reasons for how the clear and conscious development of nursing role models can be used to model virtue theory in applied ethics courses. After providing a brief summary of Aristotle’s virtue ethics, the paper turns to a description of the basic models that describe the role of a nurse: surrogate mother, patient’s advocate, traditional caregiver, and trained (...) clinician. With these models in hand, the paper illustrates how virtues and duties can change when the role of the nurse changes and how different models of the nurse’s role connect virtue to practical action in different ways. Finally, the paper concludes with an extension of the above discussion to other areas of professional ethics and a step-by-step procedure for determining occupational duties. (shrink)

This little textbook of 146 pages clarifies the basic concepts of ethics, introduces basic ethical principles, explains a strategy for ethical decision-making in difficult cases, and offers forty-five case descriptions for students to apply the RESOLVEDD strategy.

ETHICS ON THE JOB guides the reader through a step-by-step analysis to help them make good decisions in the face of ethical conflict. With the RESOLVEDD strategy, the authors have devised a powerful system for ethical decision-making in the workplace, which they teach students to implement through timely case studies and detailed analyses. Students develop a working grasp of important philosophical principles and their application in ethical conflicts, and learn to apply the RESOLVEDD strategy to ethical issues in their own (...) lives. A classic text in ethical decision-making, ETHICS ON THE JOB is widely used in business ethics classes and corporate training programs across the country. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version. (shrink)

The aim of the present study was to provide support for the validation of the Teammate Burnout Questionnaire. Athletes from a variety of team sports completed the TBQ and the Athlete Burnout Questionnaire. Confirmatory factor analysis revealed acceptable fit indexes for the three-dimensional models of the TBQ and the ABQ. Multi-trait multi-method analysis revealed that the TBQ and ABQ showed acceptable convergent and discriminant validity. The preliminary validation of the TBQ indicates the utility of the scale to reflect athletes’ perceptions (...) of their teammates’ burnout and offers researchers the opportunity to quantitatively assess an important aspect of the social environment in the development of athlete burnout. (shrink)

Este artigo tenta mostrar o fundamento filosófico da pedagogia social de Paul Natorp bem como as propostas concretas que derivam do seu conceito filosófico do sujeito.

In lieu of an abstract, here is a brief excerpt of the content:GAUGUIN: THE OSCILLATING STRUCTURE OF DISGUISE Ralph Hajj University ofMontreal In this essay we will examine Gauguin's self-portraits as ritualistic activity. Through them we will attempt to determine the formal and iconographical consequences ofhis extensive use ofdisguise and how this use can illuminate the nature ofart in general. The ritualistic function of disguise Within the framework ofa given social order, disguise functions as a ritualistic activity. Ritual is (...) aframed event where concepts—which in a non-ritualistic context are strictly differentiated and which take their meaning from this very differentiation—become undifferentiated.In Violence andthe Sacred, René Girard studied the function ofmask in ritual activity: he concluded that within the function of ritual, which is to reinforce the cultural differentiation through a repetition of its undifferentiated origins, the mask introduces undifferentiation between the self, (the human being wearing the mask), and the other (who or what the mask represents): Masks stand at that equivocal frontier between the human and the "divine," between a differentiated order in the process of disintegration and its final undifferentiated state—the point where all differences, all monstrosities are concentrated, and from which a new order will emerge. There is no point in trying to determine the "nature" ofmasks, because it is in their nature not to have a nature but to encompass all natures. (168). Disguise as a form of ritual activity is the representation of undifferentiation or non-representability. It is then a fundamentally paradoxical 168Ralph Hajj activity; an actofundifferentiating which has its condition ofpossibility in differentiated meaning. In turn differentiated meaning has its condition of possibility in a transcendental undifferentiation which the disguise represents. The mutual determination of the two, the totality of meaning and its negation, which is the condition ofpossibility ofmeaning as such, is represented through disguise both as a synchronic state and as a diachronic process. Thus, disguise is one of the forms of synchronic condensation leading to diachronic oscillation. This structure/process of condensation/oscillation is posited here as the universal underlying principle ofritual and in extension ofart in general. The structure/process of condensations/oscillations are seen most clearly in Gauguin's letters and the self-representations put forward inthem where he liked to call himselfa "savage." It is also seen in his self-portraits of 1888-1890, were he alternatively disguises himself as Jean Valjean, as Jesus Christ, and as a Breton priest, among other roles. A study of the paintings were these disguises occur will allow us to make the connection between his self-representation, as seen through his letters, and its consequences on the formal and iconographical level of these and other paintings. This in turn, will allow us to see how the structure/process of condensation/oscillation affects the form and iconography ofhis two most complex works; La Vision après le sermon [Fig. 1], and Van Goghpeignant des tournesols [Fig. 2], both ofwhich were painted in 1888. This choice of paintings will allow us to examine some fundamental generative aspects of Paul Gauguin's work during that period. Self-Portraits as tropes In 1888 Van Gogh, who was interested in creating a colony ofartists, and as a means ofpreserving his ties with the painters ofPont-Aven whom he considered as likely candidates, wanted to exchange his self-portrait with a portrait painted by Paul Gauguin representing Émile Bernard and one by Gauguin representing Bernard (Sugana 94). Gauguin, who had trouble painting Bernard (Correspondence No. 165, 230), painted a selfportrait instead with an outline of Bernard's profile on the background, entitling it Les Misérables [Fig.3] after Victor Hugo's novel. Simultaneously, Bernard painted a self-portrait with Gauguin's profile. Gauguin'sLesMisérables [Fig. 3] is typical ofhis self-portraits, where he is usually disguised, in this case as Jean Valjean. The picture shows Gauguin looking straight at the viewer, his prominent arced nose—which he considered as a sign ofhis "primitive" origins—emphasized. The Gauguin: The Oscillating Structure ofDisguise171 background is painted yellow with decorative designs vaguely reminiscent ofPersian carpets, exceptforagreen areaonthetop rightofthe canvasthat contains a linear portrait of Emile Bernard. In a letter written to Shuffenecker in October 1888, he describesthispaintingand its intentions:...I did a portrait... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 97-103 [Access article in PDF] MoMA as Educator: The Legacy of Alfred H. Barr, Jr. Ralph A. Smith Professor Emeritus University of Illinois at Urbana-Champaign Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art by Sybil Gordon Kantor. Cambridge: The MIT Press, 2002, xxv, 472 pp., $39.95. ISBN 0-262-11258-2 Sybil Kantor's history of the intellectual origins (...) of the Museum of Modern Art (MoMA) is an engaging account of Alfred Barr, Jr.'s, pivotal role in acquainting an American audience with the modernist movement in art that had developed in Europe and the Soviet Union in the first part of the twentieth century. Scrupulously documented, Kantor's narrative relies heavily on interviews with Barr's contemporaries, his publications, and his extensive correspondence. She also limns portraits of major figures who either influenced his ideas or were instrumental in establishing MoMA. Although the book is very informative about modern art, according to its author it is not intended to be strictly a history of that art. Rather, it is devoted to Barr's early development, his personal characteristics, his attitude toward the cultural and political climate of the times, his definitions of modernism and formalism, and finally, his legacy.Kantor traces Barr's career through the decade of the 1920s, which culminated in his being named the first director of MoMA in 1929; the expansive years of the 1930s and 1940s when, as Kantor puts it, Barr and the museum were at full throttle; and the later years when Barr was relieved of his director's responsibilities to allow him to spend more time on writing and the mounting of exhibitions. He retired from the museum in 1967, began to show signs of ill health in the mid-1970s, and died at the age of 79 in 1981. The Early Years Barr began his studies in the history of art at Princeton where he took courses with Frank Jewett Mather, who taught about modern art, and with Charles Rufus Morey, a distinguished medievalist whose teaching ranged beyond the architecture and sculpture of the Middle Ages to the other arts of that era. Morey's example of comprehensiveness would later stimulate Barr to think along similar lines about modern art and the organization of MoMA. At Harvard's graduate school Barr learned the skills of connoisseurship and museum management from Paul Sachs whose students went on to become directors of major museums across America. Sachs also encouraged Barr's interest in modern art and provided him with numerous letters of [End Page 97] introduction to scholars and museum directors — and occasionally withfunds for his travels.1 Lincoln Kirstein was a close friend, art critic, and earlyally, while Henry-Russell Hitchcock, Walter Gropius, and Philip Johnson significantly affected Barr's understanding of architecture. A large cast of artists, patrons, collectors, writers, trustees, and editors of "little magazines"(so-called because of their relatively small numbers of readers) also enter the scene and play various roles. A few words are in order about Barr himself who, Kantor says, exhibited more rebelliousness, a larger vision, and greater discipline than most of those around him. Barr the Man Kantor portrays a mind and sensibility possessed of exceptional discernment for the new, the difficult, and the worthwhile in the art of the early twentieth century. Barr's feeling for order, organization, and clarity of relations; his commitment to perfection, freedom, and truth; and his faith in the capacity of modern art to overcome prejudices and improve the taste of Americans are not merely reflections of the disciplinary habits inculcated by Barr's Presbyterian upbringing. They also reveal the classical tastes acquired through his art-historical studies and echo the temper of the age.The time — the 1920s through the 1940s — valued both the rationalism of science with its methods of problem solving and the insights of psychoanalysis with its probing of the irrational. Belief in the inevitable progress promised by advances in technology was, however... (shrink)

Peter Abelard (1079–1142 ce) was the most wide‐ranging philosopher of the twelfth century. He quickly established himself as a leading teacher of logic in and near Paris shortly after 1100. After his affair with Heloise, and his subsequent castration, Abelard became a monk, but he returned to teaching in the Paris schools until 1140, when his work was condemned by a Church Council at Sens. His logical writings were based around discussion of the “Old Logic”: Porphyry's Isagoge, aristotle'S Categories and (...) On Interpretation and boethius'S textbook on topical inference. They comprise a freestanding Dialectica (“Logic”; probably c.1116), a set of commentaries (known as the Logica [Ingredientibus], c. 1119) and a later (c. 1125) commentary on the Isagoge (Logica Nostrorum Petititoni Sociorum or Glossulae). In a work Abelard called his Theologia, issued in three main versions (between 1120 and c.1134), he attempted a logical analysis of trinitarian relations and explored the philosophical problems surrounding God's claims to omnipotence and omniscience. The Collationes (“Debates,” also known as “Dialogue between a Christian, a Philosopher and a Jew”; probably c.1130) present a rational investigation into the nature of the highest good, in which the Christian and the Philosopher (who seems to be modeled on a philosopher of pagan antiquity) are remarkably in agreement. The unfinished Scito teipsum (“Know thyself,” also known as the “Ethics”; c.1138) analyses moral action. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:694 BOOK REVIEWS Exercises in the Work of HUvB," Antonio Sicari writes on "Theology and Holiness," and Georges Chantraine writes on the relationship of "Exegesis and Contemplation." Missing from Henrici's account of Balthasar's philosophical presup· positions, as well as from the other contributions, are further sugges· tions for exploring possible relationships with some of the current con· cerns in North America like the hermeneutical debates or those surrounding other (...) methodological issues. Much work is still needed in this area, especially a more thorough encounter between the position of Balthasar and those of Karl Rahner, Bernard Lonergan, and Paul Ricoeur, to name but a few of the dominant figures in North American theological circles. Schindler's volume is highly to be praised as an invaluable introduction to the work of one of the giants of our century. Let us hope that more such studies will be forthcoming. Concordia University Montreal, Quebec CHRISTOPHE PoTWOROWSKI The Anthropological Character of Theology: Conditioning Theological Understanding. By DAVID A. PAILIN. New York: Cambridge Uni· versity Press, 1990. Pp. 300. $54.95 (cloth). That the discipline of theology is an activity of human beings whereby even in the most pronounced theologies of revelation the " creaturely form" of theology is acknowledged is not a matter of dispute. What is debated is the extent to which this Barthian rendering of the anthropological moment of theology " conditions " our theological understanding. It is in the interests of sorting this out that David Pailin, Reader in the Philosophy of Religion at the University of Manchester in England, devotes this volume. The result is a rather systematic study in which the author explores the various angles where one can register theology's human dimension-from basic theistic claims to doctrinal formulations-while simultaneously justifying the integrity of theological inquiry in philosophical perspective. Indeed, throughout, it is the hand of a philosopher of religion that is at work, synthesizing and categorizing the contemporary theological landscape and carving out the true subject matter of theology, namely, that which is "ontologically, valuatively and rationally ultimate" (p. 4). The book is best read with an eye to each of these poles. On the one hand, the ostensible project is to examine, evaluate, and clearly affirm the human character of the theological enterprise. Simply BOOK REVIEWS 695 acknowledging the theological identification of human being, ergo the theologian, as a creature addressed by the divine word is inadequate. Even if this should require the practitioner to engage in a " laborious movement from one partial human insight to another" (Karl Barth, Church Dogmatics, I, 1, p. 14), it does not give due recognition to the formative influence exercised by the theologian's fallible and culturally specific situation in life. These include language, conceptual perspective, metaphysical commitments, social location, and religious experience. On the other hand, Pailin is mindful that attention to theology's anthropological character and his methodological accentuation of it is in danger of yielding to the reductionist charge that religion is a complex of human projection and anthropomorphic description. In response Pailin consistently argues the case for the justifiability of religious belief, theistic claims, and theological predication. In this respect his work is not only descriptive of what theologians are doing but it attempts a revisionary intervention in the realms of philosophical and systematic theology. Classical theistic renditions of the divine attributes are subjected to critical scrutiny, e.g., divine impassibility and its relationship to divine love, and traditional interpretations of Christian doctrines are relativized by their cultural context, e.g., Anselm's theory of atonement. His own constructive subtext betrays a clear preference for neo-classical process theology and its conceptualization of God's relationship to the world and history. The key issue that governs Pailin's view of the integrity and limits of theological understanding revolves around the relationship between formal and material predication. What we mean by God and what we say about God are inextricably bound up with our speculative efforts to understand the nature of ultimate reality. The theologian and the metaphysician are in pursuit of similar quests with the proviso that the farmer's judgments are ensconced within a religious perspective. This does not exempt theological judgments from being rationally... (shrink)

In Religion Within the Boundaries of Mere Reason (6: 61), Kant provided an ethical interpretation of kenosis, the 'self-emptying' of Christ described by St Paul in Philippians 2: 6-8. This type of interpretation is distinct to Hegelian interpretations of Christ's kenosis, which read the 'self-emptying' in ontological terms. In this essay, I explore how the British Idealists received both interpretations of the doctrine, and constructed a range of Christologies of both types. Types of kenosis in the work of Thomas (...) Hill Green and Charles Gore are examined in detail, revealing their dependence on Kant's work. Following thework of DonaldMacKinnon in this area, I argue that Gore eventually adopted a Kantian Christology for political and ethical reasons. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and LearningRalph A. Smith (bio)IntroductionIt appears to be a defining characteristic of Rembrandt’s works—as important as the brushstrokes, the underdrawing, the types of ground and the paints used—that they move people exceedingly. [T]hey help us feel something of what the artist may have felt about youth, old age, friendship, isolation, and love.—Anthony Bailey[For] Rembrandt, imperfections are the norm of humanity, which is why he will always speak across (...) centuries to those for whom art might be something other than the quest for ideal form.—Simon SchamaArt can arouse the senses, touch the feelings, and stir the passions. In exercising these formidable powers, the artist should respect certain limits of good taste and moral propriety. Rembrandt possessed unequal skill in depicting the passions in original ways without breaking the code. Well, hardly ever.—Gary SchwartzThe National Endowment for the Humanities (NEH) Rembrandt Project was designed to apply state-of-the-art digital technology to the development of the multiple competencies needed for understanding and appreciating [End Page 101] Rembrandt and his time. As educational consultant to the project, I was given the assignment of conceptualizing a framework that would accommodate and illuminate the project’s purposes. This meant that I not only had to refamiliarize myself with seventeenth-century Dutch art and culture and with the national and state standards for the visual arts but also acquaint myself with the standards for socials studies; both sets of standards occupy a prominent place in the project and are the subject of the third section of this article. The overarching viewpoint from which I approached my assignment, however, was that of the humanities, a topic to which I turn first. Furthermore, since the project’s foremost concern is with masterpieces of the visual arts, I thought it apposite to address briefly some issues in aesthetics, especially those that relate to experiencing artworks appropriately. Having surveyed the project from the perspectives mentioned, I then ask to what extent it was successful in avoiding the pitfalls that often frustrate the implementation of novel ideas and methods.1The HumanitiesThe following interpretation of the humanities is condensed from the writings of two distinguished philosophers, Albert William Levi and Walter Kaufmann, and the historian Paul Gagnon. Levi, an early member of the National Council for the Humanities and for most of his career a distinguished professor of the humanities at Washington University, was once asked to define the essence of the humanities. He replied that the purposes of the humanities are to encourage persons to “to think critically, to communicate successfully, and to walk proudly with [their] tradition.”2 Noteworthy in this terse statement is its emphasis on the procedural aspects of the humanities, that is, their effects on human actions and attitudes. Such emphasis accorded well with the tradition of the Middle Ages, which construed the humanities as skills of organizing and understanding human experience. Levi, however, also acknowledged the Renaissance conception of the humanities as subject matters, thereby paying tribute to the endeavors of Renaissance scholars who devoted themselves to recovering and transmitting the literary texts of antiquity. A strong believer in historical continuity, Levi synthesized the Medieval and Renaissance traditions by proposing that the humanities be understood as skills of communication, continuity, and criticism. These skills have their substantive grounding in languages and literatures, history, and philosophy, the latter conceived as critical reflection.3 After pondering Levi’s interpretation, I added another “c,” the arts of creation, to his troika. Thus, the humanities can be understood as indispensable to human experience because they are the arts of creation, communication, continuity, and criticism.Another view of the purposes of the humanities and their relevance to the project can be found in the writings of the historian Paul Gagnon. He [End Page 102] stressed the importance of preparing the young for citizenship, personal cultivation, and vocation within a curriculum committed to the values of equity and competence.4 Gagnon interpreted the study of history as providing critical checks on reality, imparting insights into the various ways in which persons have used historical knowledge to find their place in the flow of events, and... (shrink)

In the history of Chinese and European philosophy, metaphysics has played an outstanding role: it is a theoretical framework which provides the basis for a philosophical understanding of the world and the self. A theory of the self is well integrated in a metaphysical understanding of the totality of nature as a dynamic process of continuous changes. According to this view, the purpose of existence can be conceived of as the development and realization of the full potential given to the (...) individual by its nature. In regard to human nature specifically, this idea of self-realization includes the development of all cognitive faculties as well as of the moral character. Metaphysics has, however, suffered a loss of importance in current debates, especially in ethics. As a result, we observe the emergence of such philosophical views as moral skepticism and even nihilism. The consequence of this tendency has been the renunciation of a claim to understanding and to providing a solid ground for ethics. Yet an intercultural dialogue can provide us with some hope as the consolidation of debates on crucial topics of our traditions might indeed serve as the basis for a more powerful philosophy in the future. (shrink)

This book is a collection of secondary essays on America's most important philosophic thinkers—statesmen, judges, writers, educators, and activists—from the colonial period to the present. Each essay is a comprehensive introduction to the thought of a noted American on the fundamental meaning of the American regime.

Recovering Reason: Essays in Honor of Thomas L. Pangle is a collection of essays composed by students and friends of Thomas L. Pangle to honor his seminal work and outstanding guidance in the study of political philosophy. These essays examine both Socrates' and modern political philosophers' attempts to answer the question of the right life for human beings, as those attempts are introduced and elaborated in the work of thinkers from Homer and Thucydides to Nietzsche and Charles Taylor.

For forty years, Harvey Mansfield has been worth reading. Whether plumbing the depths of MachiavelliOs Discourses or explaining what was at stake in Bill ClintonOs impeachment, MansfieldOs work in political philosophy and political science has set the standard. In Educating the Prince, twenty-one of his students, themselves distinguished scholars, try to live up to that standard. Their essays offer penetrating analyses of Machiavellianism, liberalism, and America., all of them informed by MansfieldOs own work. The volume also includes a bibliography of (...) MansfieldOs writings. (shrink)

Criticisms of fallacy theory have been lodged from many different directions. In this paper, I consider the classic criticism of incompleteness by DeMorgan, Finocchiaro's claim that fallacies probably exist only in the mind of the interpreter, McPeck's claim that fallacies are at best context-dependent and Paul's complaints about the teaching of fallacies. I seek not merely to defend fallacy theory against unfair criticisms but also to learn from the criticisms what can be done in order to make fallacy theory (...) a viable theory of criticism. I argue that this will involve several changes: rethinking of the nature of fallacy; addressing some theoretical issues; and presenting fallacy theory in a more rigorous fashion. The paper concludes with reflections on how Quine's ontological advice about the resolution of ontological disputes might be applied to the issue of whether or not there are fallacies. (shrink)