Throughout history, dance has maintained a critical presence across all human cultures, defying barriers of class, race, and status. How dance has synergistically co-evolved with humans has fueled a rich debate on the function of art and the essence of aesthetic experience, engaging numerous artists, historians, philosophers, and scientists. While dance shares many features with other art forms, one attribute unique to dance is that it is most commonly expressed with the human body. Because of this, social scientists and neuroscientists (...) are turning to dance and dancers to help answer questions of how the brain coordinates the body to perform complex, precise, and beautiful movements. In the present paper, we discuss how recent advances in neuroscientific methods provide the tools to advance our understanding of not only the cerebral phenomena associated with dance learning and observation but also the neural underpinnings of aesthetic appreciation associated with watching dance. We suggest that future work within the fields of dance neuroscience and neuroaesthetics have the potential to provide mutual benefits to both the scientific and artistic communities. (shrink)

Clark and Fischer's depiction hypothesis is based on examples of western mimetic art. Yet social robots do not depict social interactions, but instead perform them. Similarly, dance and performance art do not rely on depiction. Kinematics and expressivity are better predictors of dance aesthetics and of effective social interactions. In this way, social robots are more like dancers than actors.

This chapter talks about Peter Catalanotto's delightfully illustrated picture book, Emily's Art. Traditionally, the philosophy of art was also called aesthetics, a term derived from the ancient Greek. There are many intriguing issues in the philosophy of art. For example, philosophers have proposed various different solutions to the question of what art is. Art is a subject that interests children because they often are engaged in producing it. So an interesting way to begin a discussion of issues in the (...) philosophy of art is to ask the children whether they prefer Kelly's paintings or Emily's and why. Once they explain, ask them whether they think that other people should agree with them, or if it's fine for other people to disagree. And, as usual, ask them to explain why they think what they think. (shrink)

This essay looks to re-evaluate sculptor Richard Serra’s famous claim that “to remove the work is to destroy it.” Using OOO, and particularly Graham Harman’s interpretation of Martin Heidegger’s tool analysis, in order to analyze the now famous moment when Tilted Arc was de-installed from Federal Plaza, Manhattan in 1989, this paper argues that the work was not in fact destroyed but rather that its ontological autonomy was even more absolutely revealed in that moment as such. Although it is the (...) case that art objects and sites are prone to discursive co-construction and evaluation, it is this analysis’ claim that they both are possessive of a deep, substantive form also, a form resistant to appropriation. Tilted Arc therefore revealed something even more insidious and dangerous to those who opposed it than the power of art to speak back to its surroundings. Rather, it uncovered the substantive objecthood of the site itself. (shrink)

This article explores John's Muir's writings in order to construct a Muirian environmental aesthetics. To this end, I draw out three key features. First is the aesthetic category of sublimity as it emerges in his explorations of Yosemite. Second, a distinctive, pluralistic environmental aesthetics is found through his interweaving of aesthetic, religious, and scientific ideas. Third, his journals from the Thousand‐Mile Walk reveal an active and situated aesthetics, shaped by his practice of exploring and communing with nature. Together, these features (...) support a perspective that is quite contemporary, in tune with environmental and everyday aesthetics, as well as with recent work in environmental ethics. (shrink)

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to (...) other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

An analysis of Geoffrey Hill's lyric poem about William Blake illuminates the relations between art, prophecy, and imperial politics across more than two centuries. Hill's poem responds to David V. Erdman's argument that Blake was resolutely, if ineffectually and sometimes secretly, opposed to war. It also establishes Hill's own cryptic but definite resistance to contemporary war and warmongers, while it mourns poetry's public powerlessness to halt the violent competition for material resources. Ignored by the majority, poetry fails to bring about (...) the ethical social change that poets often envision. The layering of perspectives (Hill the poet and scholar writing about Erdman the scholar, who is explicating Blake the poet and artist) allows for a multidimensional interpretation of the role of poets and prophetic poetry. Despite their fury at society's deafness and greed, and frustration at their own incapacities, poets—because if they are great poets, they are prophets, too—continue to speak to their audiences about the problems of this world and about the better worlds that can be imagined. Hill's text obliquely teaches how the small success of a great poem can provide a minor note of consolation as it objects to terror and tyranny. (shrink)

Exploring key topics in contemporary aesthetics, this work analyzes the issues that arise from the unique works of Frank Sibley (1923-1996), who developed a distinctive aesthetic theory through a number of papers published between 1955 and 1995. Here, thirteen philosophical aestheticians bring Sibley's insight into a contemporary framework, exploring the ways his ideas foster important new discussion about issues in aesthetics. This collection will interest anyone interested in philosophy, art theory, and art criticism.

Christians have traditionally conceived of the moral life as an imitation of Christ, whereby followers enter into fellowship with God. The American Transcendentalists can be understood as extending rather than dispensing with this legacy. For Emerson, a person cultivates virtues by imitating those she loves and admires. Ultimately, however, the virtues enable her to innovate on received models, to excel by pressing beyond exemplars. Emerson's famous line, “imitation is suicide,” is not a contradiction but a fulfillment of the imitation of (...) Christ, understood in his terms. In his own time, John Brown was the public figure who, for Emerson, most nearly exemplified this innovative imitation of Christ. An examination of exemplarity, of this artful union of imitation and innovation in moral and spiritual formation, sheds light on how modern agents can cultivate the virtues needed to be at home in the modern world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Re-examining Empirical Data on Conflicts of Interest Through the Lens of Personal NarrativesEmily E. Anderson and Elena M. KrausIntroductionThe personal stories submitted by physicians and researchers for this symposium add much–needed dimension to conversations on conflicts of interest in medicine and research. Narratives from individuals living with conflicts of interest can serve as a unique lens through which to consider psychological and economic theories and survey data on physician (...) and patient views. In our reading of these personal narratives, we identified four primary themes that will serve as springboards for our commentary. We aim to triangulate clusters of meaning drawn from the narratives with relevant data from published empirical studies and identify gaps in knowledge where more research is needed. These themes are: the unique environments of medicine and research; weighing the potential benefits of conflicts of interest against the risks; conflict of interest management; and the roles and responsibilities of diverse stakeholder groups.The Unique Challenges of the Medical and Research EnvironmentsThe reflections of the narrative authors draw attention to many of the unique environmental aspects of medicine and medical research that make physicians and researchers especially vulnerable to conflicts of interest. Conflicts of interest may be more ubiquitous in medicine than in any other industry (Kassirer, 2006). As the narratives demonstrate, conflicts of interest emerge across a range of health care delivery and research activities. Surveys have shown that 94 percent of physicians have some kind of relationship with industry (Campbell, Gruen, Mountford, et al., 2007). There is also evidence that physician interactions with medical industry begin early and are a regular part of a physician’s professional practice along the career continuum (Wazana, 2000).Medicine as a profession is distinct from banking or law. It is often said that medicine is an art; in treating patients, creative individualized solutions and gut instinct are as (if not more) important than the application of scientific knowledge. Uncertainty surrounds medical decision making. There is limited precision with respect to diagnoses and prognoses, limited data regarding the effectiveness of many treatments, and a range of patient values and preferences. Because of this uncertainty, rules about practice standards, especially with respect to avoidance and management of conflicts of interest, cannot be as explicit as they are in law or business. As demonstrated by the story presented by Sal Cruz–Flores, research and practice often intersect. And, there is no system in greater need of reform—and no system about which there are more divergent opinions as to what shape that reform should take—than the United States health care [End Page 91] system. The narratives of Tony Mikulec, Govind Nagaldinne, and David M. Zientek demonstrate how various aspects of the structure of healthcare service provision and third–party payer arrangements have the potential to harm patients. Conflicts of interest comprise more than relationships with pharmaceutical and medical device manufacturers.The narratives of Laura Jean Bierut and David M. Zientek also discuss examples of conflicts of interest that arise from factors beyond relationships with industry or the direct potential for financial gain. This may be somewhat unique to the medical milieu. Non-financial conflicts such as a desire for the prestige bestowed upon scientists who make key discoveries, a requirement to publish for tenure and promotion, the need to maintain one’s license or other privileges, or simply the pressure of a competitive environment can influence physician and researcher behavior. As noted by Bierut, more research on how to identify and manage non-financial conflicts is needed.The Potential Benefits and Harms of Conflicts of InterestConflicts of interest are usually presented in a negative light, particularly those that involve physician relationships with the pharmaceutical industry. To “have a conflict of interest” is to be in a situation or role where there is potential for personal interests to be prioritized over professional responsibilities. However, in terms of public perception, it seems that conflicts of interest have become almost synonymous with wrongdoing. Perhaps this is due to the barrage of media reports during the last decade on significant harms caused by financial conflicts of interest in business, journalism, and sports as well as in medicine (Steinbrook, 2004). Amidst... (shrink)

This paper attempts to provide a reflection on Nguyen’s book, Games: Agency as Art. It demonstrates how games provide new ontological spaces and ways of being by focusing on the concept of a...

In lieu of an abstract, here is a brief excerpt of the content:Grand Manner Aesthetics in LandscapeFrom Canvas to CelluloidEmily E. Auger (bio)Popular films about the environment and related human and material resource issues, particularly colonialism, tend to enhance the appeal of their subject matter by aesthetically transforming it according to audience preferences and tastes. Such mediating strategies are perhaps too familiar to contemporary artists of all types who would prefer to work beyond the limits of what their readers or (...) viewers are prepared to tolerate as entertainment, but the particular emphases and accommodations made by film artists to convey messages about the environment are little changed from those strategies used by painters over the past three centuries to a similar end. The methods by which environmental issues are aestheticized in late-twentieth-century film is directly and historically related to those established for grand manner painters by Nicholas Poussin (1594-1665) and taught at the French academy from the seventeenth through the nineteenth centuries. That these fundamentals were part of the training of artists who would be willing and able to enhance the glory of Louis XIV's absolutist monarchy seems not to have undermined the popular enthusiasm their association with the "classical" past generated outside of France. Thus, the grand manner ideal was repeated, elaborated, and adapted by subsequent British and American artists, teachers, and aestheticians, both amateur and professional, including Joshua Reynolds (1723-92), president of the British academy; theoretician Edmund Burke (1729-97); and such American painters as Benjamin West (1738-1820), Thomas Cole (1801-48), Frederic Church (1826-1900), and Albert Bierstadt (1830-1902).Examples of filmic adaptations of grand manner aesthetics considered here include English director John Boorman's The Emerald Forest (1985) and Anglo-French director Roland Joffé's The Mission (1986), both British productions; Kevin Costner's Dances with Wolves (1990) and John McTiernan's [End Page 96] Medicine Man (1992), both American productions with American directors; and Australian director Bruce Beresford's Black Robe (1991), a Canadian/Australian production based on Irish-born, Canadian novelist Brian Moore's best-selling novel of the same title (1985). While it might be argued that these films merely show the adaptation of academy-based grand manner ideals and principles to new imperialist interests, this article demonstrates how they educate and draw public sympathy to global environmental concerns, albeit with reference to a recognizably Western aesthetic tradition. Thus, the interest of this study to educators and students of the visual arts is twofold: first, it demonstrates the continued adaptation and application of aesthetic principles originally developed in the seventeenth century to a technology-based medium; and second, it shows how those aesthetic principles are currently applied in film to direct and modulate public opinion on matters well beyond the domain of pure or theoretical aesthetics.The grand manner aesthetic, first defined with reference to seventeenth-century painting and still apparent in twentieth-century film, is largely attributable to Poussin since he was an artist who wrote—and wrote well—about his understanding of artistic quality and priorities. He was deeply committed to classicism; he thought the elements of a painting should be idealized rather than realistic and particularized, that those elements should be clearly delineated in a linear manner, that exotic subjects and excessive color should be avoided as both appeal too much to the senses and not enough to the mind, and that figures should always predominate over landscape. Poussin's ideals became the model for students training at the French Academy, an institution officially formed in 1648 under the direct control of the government. Aspiring academicians were exhorted to produce images that were usually composites of the better, and sometimes imagined, aspects of the appearance, character, and deeds of the fictional and historical people, events, and locations that were their subjects. They were never allowed to forgot the hierarchy of value that placed genre painting forever below history painting, yet it cannot have escaped their notice that a certain number of well-executed examples of the lowly still life, domestic interior, and picturesque landscape on the exhibition walls made the "grandness" of more ambitious works more apparent by contrast.The French Academy soon became the envy of foreign upper-level bureaucrats cognizant... (shrink)

This study explores the reflective processes of Scottish artist, Norman Gilbert, as he created twenty-five drawings depicting his wife, Pat Gilbert, as she lay dying following an Alzheimer’s-related stroke. Norman, ninety-one, had drawn Pat regularly over their sixty-five-year marriage. One week after Pat died, Norman was interviewed by a family friend to chronicle his reflections on the drawings. The drawings along with the interview transcript are analyzed qualitatively as a case study. Norman’s Hospital Drawings of Pat transform what was initially (...) a private experience into a shared comprehension of end of life and bereavement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beyond DisciplineOn the Status of Bodily Difference in PhilosophyEmily Anne ParkerMuch deserved attention has recently been directed to the fact that philosophy faculty are surprisingly homogeneous when compared to faculty in other fields, not only in the humanities and social sciences but also in the natural sciences (Alcoff 2011, 7–8). Perhaps it is as a result of this bodily homogeneity that sexual harassment and sexual assault in philosophy departments (...) are routine and that stories about such experiences, when they can be shared, are questioned or ignored. Certainly such experiences deserve attention. But they also deserve philosophical examination. Linda Martín Alcoff points out that a study of the relationship between percentages of (predominantly white, hetero, cisgendered, normatively abled) women in a department and the status of that department in Brian Leiter’s Philosophical Gourmet demonstrates a “reverse correlation, where the higher the percentages of women, the lower the rankings. Departments concerned about their Leiter rankings would be ‘rational,’ then to forego hiring too many women” (Alcoff 2011, 8). Alcoff suggests that instead of simply counting the nonwhite, cisgendered, heterosexual, normatively abled men in the field, we need to consider the connection between the “climate for women and the attitude toward feminist philosophy” and (as her own work elsewhere would suggest) the philosophy of race. Clearly Alcoff is right to suggest that we should not think of sexual harassment as the obstacle to participation of a very small sampling of bodily diversity in the field, but rather as a circular indicator and cause of a larger problem. [End Page 222]But what is the problem?I would like to suggest that the problem, still underdiscussed, is the implicit disciplining of what counts as philosophical. It is this quiet yet ubiquitous questioning that not only keeps philosophy homogeneous, but also prevents most critics of that homogeneity from doing more than reporting limited demographical information about the field. To be sure, when one wants to argue that there is something wrong with the culture of philosophy as a field, it seems necessary to marshal data. And yet it will always be the case that such studies can never answer questions about how a culture develops, what its assumptions, horizons, and cosmologies are. For this one needs (critical race, feminist, ability, queer, trans, economic, ecological) philosophy. And yet, circularly, disciplining what counts as philosophical sets limits to what questions can be explored.Kristie Dotson, Gayle Salamon, and Alexis Shotwell have each in separate contexts pointed out that what counts as “philosophy” should be recognized as the philosophical question that it itself apparently is (Dotson 2011, 2012; Salamon 2009; Shotwell 2010). This conversation about what counts as philosophy is directly related to the status not only of white hetero women in the field, but also the status of anyone who challenges the philosophical centrality of normatively raced-classed-abled-gendered bodies. In a recent paper, Dotson reflects on having been asked repeatedly, “How is this paper philosophy?” (Dotson 2012, 407). This question is extremely common, and as Shotwell points out, having to answer it is “a common experience for people who attempt to do work in philosophy while departing in archive and method from accepted norms” (117). Shotwell further suggests that it’s not just archive and method that make one suspect; it’s also the questions that one is willing to ask about oneself, about community, about world. Read together, Dotson and Shotwell make it clear not only that the question of whether one’s work is or is not philosophical is a common question, but that this is the case precisely because it is taken for granted what philosophy is, perhaps especially by those who ask whether X is or is not philosophy. Otherwise the question of how some project or other is philosophy simply wouldn’t be articulable as a question.For the moment I would like to take a widely common and implicit definition of philosophy seriously: “Philosophy” is whatever directs fundamental questions at itself. Perhaps this means that philosophy is the art of attempting to discern the creative within the wrongly presumed. We could then say that philosophy asks, What do we presuppose? Why, and... (shrink)

There has long been a curious fascination with eyes and mirrors as evident throughout art, film, and literature. From fantastical characters who shoot lasers from their eyes to those whose memories are altered visually, the way in which a story portrays the function of the eyes demonstrates the way the storyteller imagines the character's relationship to the world. Is the character powerful or powerless? Does she impact her world or is she impacted by that world? The storyteller's portrayal of vision (...) answers those questions and reveals deeper assumptions about the individual and her ability to move within and to know her world. While eyes are associated with interacting with this world, mirrors are distinctly associated with interacting with some other world. Mirrors function as portals to other worlds, windows that glimpse an alternate reality, or harmful traps that hide sinister intentions. How an author portrays eyes reveals how she understands the world, while how she portrays mirrors reveals how she imagines the unknown. (shrink)

In the 1930s, the Bengali philosopher K. C. Bhattacharyya proposed a new theory of rasa, or aesthetic emotion, according to which aesthetic emotions are feelings that have other feelings as their intentional objects. This paper articulates how Bhattacharyya’s theory offers a novel solution to the puzzle of how it is both possible and rational to enjoy the kind of negative emotions that are inspired by tragic and sorrowful tales. The new solution is distinct from the conversion and compensation views that (...) dominate the existing literature, and it derives its significance from how it ties aesthetic experience to self-awareness. (shrink)

The sublime has been a relatively neglected topic in recent work in philosophical aesthetics, with existing discussions confined mainly to problems in Kant's theory.1 Given the revival of interest in his aesthetic theory and the influence of the Kantian sublime compared to other eighteenth-century accounts, this focus is not surprising. Kant's emphasis on nature also sets his theory apart from other eighteenth-century theories that, although making nature central, also give explicit attention to moral character and mathematical ideas and generally devote (...) more discussion to art and artifacts than Kant did.2 Recent postmodern and poststructuralist theories of the sublime tend to concentrate on the concept in art and .. (shrink)

ABSTRACT In 'An Insoluble Problem', Storrs McCall presents an argument which he takes to reveal the real problem with backwards time travel. McCall asks us to imagine a scenario in which a renowned artist produces his famous works by copying them from reproductions brought back to him by a time-travelling art critic. The novelty of the scenario lies in its introduction of aesthetic constraints on the possibility of time travel, something which sets it apart from other time travel cases. McCall (...) states that 'The puzzle lies... in finding where artistic creativity enters the equation', and that 'Unlike the traditional "paradoxes of time travel", this problem has no solution'. We offer four responses to McCall's puzzle. Whilst we show that the puzzle is not insoluble, we also argue that it reveals something about the proper relationship between copying and creativity, which may not have been apparent without considering time travel. (shrink)

In this article, I take up Uri McMillan’s work in Embodied Avatars to rethink the subject–object relationship in women’s preaching. In performance art, the subject fashions herself into an object. I stretch the performance art genre to include preachers Rachel Baker, Jarena Lee, and Florence Spearing Randolph, arguing that these women have strategically performed objecthood to navigate gendered and racialized constraints in Christian proclamation. Examining these three women preachers through the lens of performing objecthood opens up theological understandings of how (...) the Spirit works in a world marked by social sin. Contrary to theologians who describe submission to the Spirit as self-effacement, I show how submission to the Spirit can counter worldly authorities, while enabling women preachers to transform perceptions of gender and race in a liberative way. (shrink)

Dreamland of humanists -- Culture, commerce, and the city -- Warburg's Renaissance and the things in between -- University as "gateway to the world" -- Warburg, Cassirer, and the conditions of reason -- Socrates in Hamburg? Panofsky and the economics of scholarship -- Iconology and the Hamburg school -- Private Jews, public Germans -- Cassirer's cosmopolitan nationalism -- The enlightened rector and the politics of enlightenment -- The Hamburg America line: exiles as exports -- Epilogue: Nachleben of an idea.

Is there any difference between playing video games in which the player’s character commits murder and video games in which the player’s character commits pedophilic acts? Morgan Luck’s “Gamer’s Dilemma” has established this question as a puzzle concerning notions of permissibility and harm. We propose that a fruitful alternative way to approach the question is through an account of aesthetic engagement. We develop an alternative to the dominant account of the relationship between players and the actions of their characters, and (...) argue that the ethical difference between so-called “virtual murder” and “virtual pedophilia” is to be understood in terms of the fiction-making resources available to players. We propose that the relevant considerations for potential players to navigate concern (1) attempting to make certain characters intelligible, and (2) using aspects of oneself as resources for homomorphic representation. (shrink)

Incomplete Archaeologies takes a familiar archaeological concept--assemblages--and reconsiders such groupings, collections and sets of things from the perspective of the work required to assemble them. The discussions presented here engage with the practices of collection, construction, performance and creation in the past (and present) which constitute the things and groups of things studied by archaeologists--and examine as well how these things and thing-groups are dismantled, rearranged, and even destroyed, only to be rebuilt and recreated. The ultimate aim is to reassert (...) an awareness of the incompleteness of assemblage, and thus the importance of practices of assembling (whether they seem at first creative or destructive) for understanding social life in the past as well as the present. The individual chapters represent critical engagements with this aim by archaeologists presenting a broad scope of case studies from Eurasia and the Mediterranean. Case studies include discussions of mortuary practice from numerous angles, the sociopolitics of metallurgy, human-animal relationships, landscape and memory, the assembly of political subjectivity and the curation of sovereignty. These studies emphasise the incomplete and ongoing nature of social action in the past, and stress the critical significance of a deeper understanding of formation processes as well as contextual archaeologies to practices of archaeology, museology, art history, and other related disciplines. Contributors challenge archaeologists and others to think past the objects in the assemblage to the practices of assembling, enabling us to consider not only plural modes of interacting with and perceiving things, spaces, human bodies and temporalities in the past, but also to perhaps discover alternate modes of framing these interactions and relationships in our analyses. Ultimately then, Incomplete Archaeologies takes aim at the perceived totality not only of assemblages of artefacts on shelves and desks, but also that of some of archaeology's seeming-seamless epistemological objects"--From publisher's website. (shrink)

An inquiry into the current ways of knowing, their ramifications, and institutional and noninstitutional artistic practices that provide channels for education from below. Artistic Ecologies: New Compasses and Tools aims to both analyze and speculate about potentials of artistic ecologies, collective learning, and engaged pedagogies to engender new institutionalities. Going beyond tensions between individuals and institutions, Artistic Ecologies examines avenues for collective learning. If learning for life is emancipation—understood not just as a matter of power but of freedom—the essential question (...) that emerges is: What knowledge makes us free and how can institutions help produce it? In search of an answer, this publication’s textual and visual contributions explore sites and practices through which new institutionalities can emerge. Artistic Ecologies comprises essays analyzing current ways of knowing and their ramifications (Marina Garcés, Yayo Herrero and Pirate Care) and portraying alternative ways of forming knowledge through institutional and non-institutional artistic practices (DAAR—Decolonizing Architecture Art Research, Yael Davids, Max Jorge Hinderer Cruz, The Sensing Salon). Artistic contributions in various formats—poems, drawings, visual essays—by Luna Acosta, CAConrads, Eva Ďurovec, Teuta Gatolin, Margherita Isola, and Jammers illustrate heterodox channels for questioning the dominant forms of knowledge and educating from below. (shrink)

Imagery is one of the new, exciting frontiers in cognitive therapy. From the outset of cognitive therapy, its founder Dr. Aaron T. Beck recognised the importance of imagery in the understanding and treatment of patient's problems. However, despite Beck's prescience, clinical research on imagery, and the integration of imagery interventions into clinical practice, developed slowly. It is only in the past 10 years that most writing and research on imagery in cognitive therapy has been conducted. The Oxford Guide to Imagery (...) in Cognitive Therapy is a landmark book, which will play an important role in the next phase of cognitive therapy's development. Clinicians and researchers are starting to recognise the centrality of imagery in the development, maintenance and treatment of psychological disorders - for example, in social phobia, agoraphobia, depression, PTSD, eating disorders, childhood trauma, and personality disorder. In the fields of cognitive psychology and cognitive neuroscience, researchers are identifying the key role that imagery plays in emotion, cognition and psychopathology.The Oxford Guide to Imagery in Cognitive Therapy has been written both for clinicians and researchers. For clinicians, it is a user-friendly, practical guide to imagery, which will enable therapists to understand imagery phenomenology, and to integrate imagery-based interventions into their cognitive therapy practice. For researchers, it provides a state-of-the-art summary of imagery research, and points the way to future studies. Written by three well-respected CBT researcher-clinicians, it is essential reading for all cognitive therapists, who have recognised the limitations of purely 'verbal' CBT techniques, and want to find new ways to work with clients with psychological disorders. Readership: CBT therapists. (shrink)

This arts- based project creatively introduces residents to photography, self-portraiture and narratives to document the longitudinal journey of becoming a family physician. Visual arts and writing can foster reflection: an important skill to cultivate in developing physicians. Unfortunately, arts based programs are lacking in many residency programs. Tools and venues that nourish physician well being and resilience may be important in today’s changing healthcare environment and epidemic of physician burnout. Residents created self-portraits with accompanying narratives throughout their three-year training. Analysis (...) of the portraits and accompanying narratives completed the assessment. Residents created a body of work that includes 182 creative and deeply personal portraits and narratives. The five most frequent themes of portraits included “Residency is Difficult,” “Hobbies,” “Family,” “Growing as a Doctor,” and “Coping Mechanisms.” Self-portrait photography and reflection gives insight into the journey of becoming a family medicine physician at a deeply personal and professional level. Further partnerships between residency programs and the arts should be explored to promote reflection. (shrink)

Emily Brady asks us to reconsider what kinds of environmental artworks constitute ‘aesthetic affronts to nature’, and concludes that many of these works may in fact show aesthetic regard for nature...

On 18–19 May 2018, a symposium was held in the Research Institute of Irish and Scottish Studies at the University of Aberdeen to commemorate the tenth anniversary of the death of Ronald W. Hepburn (1927–2008). The speakers at this event discussed Hepburn’s oeuvre from several perspectives. For this book, the collection of the revised versions of their talks has been supplemented by the papers of other scholars who were unable to attend the symposium itself. Thus this volume contains contributions from (...) eighteen notable scholars of different disciplines, ranging from contemporary aesthetics and art theory through to philosophical approaches to religion, education and social anthropology. It also includes a bibliography of Hepburn’s writings. The essays were first published in two special issues of the Journal of Scottish Thought, vols. 10–11 (2018–2019). -/- Ronald William Hepburn was born in Aberdeen on 16 March 1927. He went to Aberdeen Grammar School, then he graduated with an M.A. in Philosophy (1951) and obtained his doctorate from the University of Aberdeen (1955). His tutor at Aberdeen was Donald MacKinnon (1913– 1994), a Scottish philosopher and theologian, the author of A Study in Ethical Theory (1957) and The Problem of Metaphysics (1974). Hepburn taught as Lecturer at the Department of Moral Philosophy at Aberdeen (1956–60), and he was also Visiting Associate Professor of Philosophy at New York University (1959–60). He returned from the United States as Professor of Philosophy at Nottingham University. In 1964, he was appointed as a Chair in Philosophy at the University of Edinburgh and between 1965 and 1968 he was also Stanton Lecturer in the Philosophy of Religion at the University of Cambridge. From 1975 until his retirement in 1996, he held the Professorship of Moral Philosophy at Edinburgh. He died in Edinburgh on 23 December 2008. His philosophical interests ranged from theology and the philosophy of religion through moral philosophy and the philosophy of education to art theory and aesthetics. Notably, Hepburn is widely regarded as the founder of modern environmental and everyday aesthetics as a result of the influence of papers in the 1960s which pioneered a new approach to the aesthetics of the natural world. (shrink)

“The sublime is a massive concept,” Emily Brady states in her book’s first sentence. Her lucid study of the sublime should interest scholars from a wide range of disciplines, from environmental philosophy and aesthetics to the history of philosophy, art history, and literary criticism. Although its title refers to modern philosophy, the book examines not only the period typically classified in philosophy as “modern,” but also romanticism and contemporary aesthetics. Brady aims “to reassess, and to some extent reclaim, the meaning (...) of the sublime as developed during its heyday in eighteenth-century aesthetic theory by the likes of Addison, Burke, Kant, and others, and mark out its relevance for contemporary debates... (shrink)

This article examines the regulation of Latina youth sexualities in the context of sexual and reproductive health care provision. In-depth interviews with health care providers working in two Latino-serving community health centers are analyzed for how they interpret and respond to the sexual and reproductive practices of their low-income Latina teen patients. The author finds that providers emphasize teenage pregnancy as a social problem among this population to the exclusion of other dimensions of youth sexualities and encourage Latina girls’ adherence (...) to a life course trajectory that conforms to middle-class, heteronormative ideals as a solution to this problem. By relying on such understandings, providers construct meanings of sexual citizenship that require participation in bourgeois heteronormativity. These findings suggest that Latino-serving community health centers, their providers, and their teen patients could benefit from questioning the assumptions that inform providers’ appraisals of Latina youth and developing a more inclusive approach to Latina youth sexualities beyond a discourse of pregnancy prevention. Such efforts could allow community health centers to actively participate in disrupting the structural inequalities that shape their young patients’ lives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Birth-Mark: Unsettling the Wilderness in American Literary HistoryC. S. SchreinerThe Birth-Mark: Unsettling the Wilderness in American Literary History, by Susan Howe; 189 pp. Middletown: Wesleyan University Press, 1993, $40.00.In the interview which concludes The Birth-Mark, Susan Howe says that during childhood her Boston household was visited by such pioneers of American studies as Perry Miller and F. O. Matthiessen. Career-wise, however, Howe’s path to academia has be (...) en indirect: born in 1937, she gained her first professorship in 1989 in the Poetics Program at SUNY Buffalo. A visual artist by [End Page 192] training, Howe veered into a genre of writing in the 1970s that seeks to “install certain narrativ es somewhere between history, mystic speech, and poetry” (p. 44). Her poetry includes Secret History of the Dividing Line (1978), Pythagorean Silence (1982), and Defenestration of Prague (1983). In 1985 she published an original criti cal study, My Emily Dickinson, which criticized editors for having homogenized the format and typography of Dickinson’s manuscripts, taming the unruly rigor of poems which were originally “multifaceted visual and verbal productions.” Howe also argu ed that the Amherst poet should not be viewed as a victim of repression, as many feminists see her, but as a refuser of congregations, a powerful will-to-reclusion in art—“One unchosen American women alone at home and choosing.” Emily’s home was a nomadi c space between orthodoxies.An understanding of Howe’s kinship with Dickinson’s poetic daring is helpful for reading The Birth-Mark, whose prose is poetic, and whose protagonist, Mary Rowlandson, shared Dickinson’s “stubborn strength in isolation.” The captivity narratives ar e portals into the antinomian controversy of New England, which was “the primordial struggle of North American literary expression” (p. 4). It is not Gilbert and Gubar to whom Howe has recourse in her analyses of hostage consciousness. She cites the philo sophy of Emmanuel Lévinas. As with feminism, which she extends rather than follows, Howe takes up the philosophy of alterity without its orthodoxy. (In the face of frontier brutality she cannot discern the “Father of orphans and defender of widows” of Psalm 68.) Encounters in the wilderness of tribes, woods, and waters aroused an immodest otherness within the American literary unconscious, unsettling the styles of expression and selfhood which the puritan colonies were trying to instantiate. The literary awakening of Dickinson, Rowlandson, Melville, Hawthorne, and other writers was not due to the Great Awakening urged by churches, but to the traumatic transfer of sovereignty from God to frontier, a permanent revolution to which these writers’ imaginations would remain exposed.Howe’s new foray into criticism tracks the textual marginalia which yield the visionary utterances of Rowlandson and Hutchinson. A self-confessed “library cormorant,” Howe gathers a quiet spectacle of testimonies, those of separated loved ones dragged int o “Removes” by tribes of Native Americans. These resonant texts from New England village libraries and major collections at Harvard, are melded together by Howe’s intuitive, almost telepathic sensibility into a kind of spiritual drama informed by critical acumen. Howe takes her bearings from Patricia Caldwell’s essay “The Antinomian Language Controversy,” which appeared in the Harvard Theological Review in 1976. The dislocating frontier experience for Hutchinson, Rowlandson, and others forced the c reation of a different language. It is with this antinomian language that Howe develops a sensitive rapport, echoing its myriad haunting voices in her commentaries. What Gadamer calls effective history broods and rustles inside her [End Page 193] writing with lyrical unease. Indeed, Howe’s work is a creative example of the fusion of horizons which Gadamer says epitomizes the hermeneutic event. Howe’s personal method as revealed in her interview: “Not to explain the work, not to trans late it, but to meet the work with writing... Not just to write a tribute, but to meet her [Dickinson] in the tribute. And that’s a kind of fusion” (p. 158). Some scholars will find her method obscure. But it’s hard to find anything negative at this height. Howe would have us meet others at their most exposed, delicate point, where their vulnerability... (shrink)

Most research on the corporate philanthropy of organizations has focused on the external benefits of such initiatives for firms, such as benefits for firm reputation and opportunities. However, many firms justify their giving, in part, due to the positive impact it has on their employees. Little is known about the effectiveness of such efforts, or how they can be managed strategically to maximize impact. We hypothesize a main effect of office-level corporate philanthropy on average employee attitudes in that office, but (...) also investigate three strategies that offices may use to enhance this impact. Testing our hypotheses with 3 years of data on attitudes of an average of 14,577 employees in 53 offices we find support for the main effect, but mixed support for the specific strategies used to enhance impact. (shrink)

Although hope is a pervasive concept in cancer treatment, we know little about how ambulatory patients with cancer define or experience hope. We explored hope through semistructured interviews with ten patients with advanced (some curable, some incurable) colon cancer at one Midwestern, university–based cancer center. We conducted a thematic analysis to identify key concepts related to patient perceptions of hope. Although we did ask specifically about hope, patients also often revealed their hopes in response to indirect questions or by telling (...) stories about their cancer experience. We identified four major themes related to hope: 1) hope is essential, 2) a change in perspective, 3) the content of hope, and 4) communicating about hope. The third theme, the content of hope, included three subthemes: a) the desire for normalcy, b) future plans, and c) hope for a cure. We conclude that hope is an essential concept for patients undergoing treatment for cancer as it pertains to their psychological well–being and quality of life, and hope for a cure is not and should not be the only consideration. In a clinical context, the exploration of patients’ hopes and aspirations in light of their cancer diagnosis is important because it provides a frame for understanding their goals for treatment. Exploration of the content of patients’ hope can not only help to illuminate misunderstandings but also clarify how potential treatments may or may not contribute to achieving patients’ goals. (shrink)

This book explains the importance of embodiment in understanding the function of race. With chapters by expert contributors and coverage of the most recent thinking in philosophy of race, the book is ideal for upper-level students in Phenomenology, Philosophy of Race and Critical Race Theory.

While women’s participation at research stations has been celebrated as a success story for women in science, their experiences were not quite equal to that of men scientists. This article shows how women interested in practicing marine science at research institutions experienced different living and research environments than their male peers; moreover, it illustrates how those gendered experiences reflected and informed the nature of their scientific practices and ideas. Set in Roscoff, France, this article excavates the work and social worlds (...) of a Russian scientist, Natalie Karsakoff (1863–1941), and a British émigré in France, Anna Vickers (1853–1906), to show how a small group of single women who studied algae created a “central bureau of feminine algology.” The social aspects of this bureau, and the physical space and support funded by Vickers, allowed these women scientists to both participate in male-dominated practices of science and lend evidentiary support to an ecological category that emphasized benign coexistence rather than struggle. This study adds an empirical case of single women scientists managing successful careers in science and contributing to science through publication and research. (shrink)

Emily Carr, often called Canada’s Van Gogh, was a post-impressionist explorer, artist and writer. In _Artist Emily Carr and the Spirit of the Land_ Phyllis Marie Jensen draws on analytical psychology and the theories of feminism and social constructionism for insights into Carr’s life in the late Victorian period and early twentieth century. Presented in two parts, the book introduces Carr’s émigré English family and childhood on the "edge of nowhere" and her art education in San Francisco, London and Paris. (...) Travels in the wilderness introduced her to the totem art of the Pacific Northwest coast at a time Aboriginal art was undervalued and believed to be disappearing. Carr vowed to document it before turning to spirited landscapes of forest, sea and sky. The second part of the book presents a Jungian portrait of Carr, including typology, psychological complexes, and archetypal features of personality. An examination the individuation process and Carr’s embracement of transcendental philosophy reveals the richness of her personality and artistic genius. Artist Emily Carr and the Spirit of the Land provides captivating reading for analytical psychologists, academics and students of Jungian studies, art history, health, gender and women’s studies. (shrink)

_Philosophers consider race and racism from the perspective of lived, bodily experience._.

ABSTRACTTo date, there has been little philosophical consideration of the concept of shame in sport, yet sport seems to be an environment conducive to the experience of shame due to its public and...

Exploring the intimate tie between body movement and space and time, Lee begins with the position that body movement generates space and time and explores the ethical implications of this responsibility for the situations one’s body movements generate. Whiteness theory has come to recognize the ethical responsibility for situations not of one’s own making and hence accountability for the results of more than one’s immediate personal conscious decisions. Because of our specific history, whites have developed a particular embodiment and body (...) movement that generates places that can only be characterized as more comfortable and more enabling to whites. (shrink)

The question of authenticity centers in the lives of women of color to invite and restrict their representative roles. For this reason, Gayatri Chakravorty Spivak and Uma Narayan advocate responding with strategic essentialism. This paper argues against such a strategy and proposes an epistemic understanding of the question of authentic- ity. The question stems from a kernel of truth—the connection between experience and knowledge. But a coherence theory of knowledge better captures the sociality and the holism of experience and knowledge.

Eduard Pernkopf’s Atlas of Topographical and Applied Human Anatomy is a four-volume anatomical atlas published between 1937 and 1963, and it is generally believed to be the most comprehensive, detailed, and accurate anatomy textbook ever created. However, a 1997 investigation into “Pernkopf’s Atlas,” raised troubling questions regarding the author’s connection to the Nazi regime and the still unresolved issue of whether its illustrations relied on Jewish or other political prisoners, including those executed in Nazi concentration camps. Following this investigation, the (...) book was removed from both anatomy classrooms and library bookshelves. A debate has ensued over the book’s continued use, and justification for its use has focused on two issues: there is no definitive proof the book includes illustrations of concentration camp prisoners or Jewish individuals in particular, and there is no contemporary equivalent to this text. However, both points fail to address the central importance of the book, not simply as part of anatomy instruction, but also as a comprehensive historical narrative with important ethical implications. Having encountered a first edition copy, these authors were given a unique opportunity to engage with the text through the respective humanities lenses of history, ethics, and narrative. In doing so, an instructive and profound irony has surfaced: Nazis, including Pernkopf, viewed specific groups of people as less than human, giving rise to unthinkable atrocities perpetuated against them. However, these same individuals became the sources for the creation of the Atlas, which served as the model for primary instruction on the human form for more than half of the twentieth century. In this article, we recount the difficult and somewhat opaque provenance of this book, engage the ethical questions surrounding both its creation and its use, and ultimately propose a pedagogical methodology for its continued use in medical education. (shrink)

Background: Post-mortem needle biopsies have been used in resource-poor settings to determine cause of death and there is interest in using them in Bangladesh. However, we did not know how families and communities would perceive this procedure or how they would decide whether or not to consent to a post-mortem needle biopsy. The goal of this study was to better understand family and community concerns and decision-making about post-mortem needle biopsies in this low-income, predominantly Muslim country in order to design (...) an informed consent process. Methods: We conducted 16 group discussions with family members of persons who died during an outbreak of Nipah virus illness during 2004-2008 and 11 key informant interviews with their community and religious leaders. Qualitative researchers first described the post-mortem needle biopsy procedure and asked participants whether they would have agreed to this procedure during the outbreak. Researchers probed participants about the circumstances under which the procedure would be acceptable, if any, their concerns about the procedure, and how they would decide whether or not to consent to the procedure. Results: Overall, most participants agreed that post-mortem needle biopsies would be acceptable in some situations, particularly if they benefitted society. This procedure was deemed more acceptable than full autopsy because it would not require major delays in burial or remove organs, and did not require cutting or stitching of the body. It could be performed before the ritual bathing of the body in either the community or hospital setting. However, before consent would be granted for such a procedure, the research team must gain the trust of the family and community which could be difficult. Although consent may only be provided by the guardians of the body, decisions about consent for the procedure would involve extended family and community and religious leaders. Conclusions: The possible acceptability of this procedure during outbreaks represents an important opportunity to better characterize cause of death in Bangladesh which could lead to improved public health interventions to prevent these deaths. Obstacles for research teams will include engaging all major stakeholders in decision-making and quickly building a trusting relationship with the family and community, which will be difficult given the short window of time prior to the ritual bathing of the body. (shrink)