In spite of feminist recognition that hierarchical organizations are an important location of male dominance, most feminists writing about organizations assume that organizational structure is gender neutral. This article argues that organizational structure is not gender neutral; on the contrary, assumptions about gender underlie the documents and contracts used to construct organizations and to provide the commonsense ground for theorizing about them. Their gendered nature is partly masked through obscuring the embodied nature of work.jobs and hierarchies, common concepts in organizational (...) thinking, assume a disembodies and universal worker. This worker is actually a man; men's bodies, sexuality, and relationships to procreation and paid work are subsumed in the image of the worker. Images of men's bodies and masculinity pervade organizational processes, marginalizing women and contributing to the maintenance of gender segregation in organizations. The positing of gender-neutral and disembodied organizational structures and work relations is part of the larger strategy of control in industrial capitalist societies, which, at least partly, are built upon a deeply embedded substructure of gender difference. (shrink)

In this article, the author addresses two feminist issues: first, how to conceptualize intersectionality, the mutual reproduction of class, gender, and racial relations of inequality, and second, how to identify barriers to creating equality in work organizations. She develops one answer to both issues, suggesting the idea of “inequality regimes” as an analytic approach to understanding the creation of inequalities in work organizations. Inequality regimes are the interlocked practices and processes that result in continuing inequalities in all work organizations. Work (...) organizations are critical locations for the investigation of the continuous creation of complex inequalities because much societal inequality originates in such organizations. Work organizations are also the target for many attempts to alter patterns of inequality: The study of change efforts and the oppositions they engender are often opportunities to observe frequently invisible aspects of the reproduction of inequalities. The concept of inequality regimes may be useful in analyzing organizational change projects to better understand why these projects so often fail and why they succeed when this occurs. (shrink)

The gender-based wage gap in Swedish banks began to increase in 1983 after many years of decline. The growth in the gap between the wages of nonmanagerial women and men employees was particularly high. This article asks, How did this happen? Wage setting, part of the processes of control in capitalist economies, is accomplished through concrete practices under specific historical conditions. The author studied these practices and conditions to understand the increasing wage gap. Through interviews and examination of union and (...) management documents, the author constructs an account of a wage-setting process that, in spite of a strong union and centralized bargaining, allows management to make discretionary wage decisions that favor raises for men over raises for women. Since 1983, competition and deregulation in the banking sector as well as union strategies have created conditions in which an increasing proportion of annual wage increases have been distributed on a discretionary basis. This has led to an increase in the wage gap. The author concludes that policies to raise women's relative wages should pursue general, across-the-board bargaining rather than individualized wage setting. (shrink)

There is a section in Samuel Delany’s magnificent autobiographical meditation, The Motion of Light in Water, that dramatically raises the problem of writing the history of difference, the history, that is, of the designation of “other,” of the attribution of characteristics that distinguish categories of people from some presumed norm.1 Delany recounts his reaction to his first visit to the St. Marks bathhouse in 1963. He remembers standing on the threshold of a “gym-sized room” dimly lit by blue bulbs. The (...) room was full of people, some standing, the rest an undulating mass of naked, male bodies, spread wall to wall. My first response was a kind of heart-thudding astonishment very close to fear. I have written of a space at certain libidinal saturation before. That was not what frightened me. It was rather that the saturation was not only kinesthetic but visible.2Watching the scene establishes for Delany a “fact that flew in the face” of the prevailing representation of homosexuals in the 1950s as “isolated perverts,” as subjects “gone awry.” The “apprehension of massed bodies” gave him a “sense of political power”:what this experience said was that there was a population—not of individual homosexuals … not of hundreds, not of thousands, but rather of millions of gay men, and that history had, actively and already, created for us whole galleries of institutions, good and bad, to accommodate our sex. [M, p. 174] 2. Samuel R. Delany, The Motion of Light in Water: Sex and Science Fiction Writing in the East Village, 1957-1965 , p. 173; hereafter abbreviated M. Joan W. Scott is professor of social science at the Institute for Advanced Study in Princeton, New Jersey. She is the author, most recently, of Gender and the Politics of History and is currently at work on a history of feminist claims for political rights in France during the period 1789-1945 as a way of exploring arguments about equality and difference. (shrink)

Strip clubs have rarely been analyzed in terms of their gendered organization. Instead, the literature on stripping emphasizes interaction-based perspectives that focus on strippers, patrons, and broader macro-structural trends. Although interaction-based perspectives are valuable, they often neglect to consider the context in which these interactions take place, the strip club itself. Such studies also tend to neglect the larger cast of club characters who own, manage, and work. This study explores workplace dynamics in The Lion's Den, a club featuring nude (...) female dancers who perform primarily for male patrons. Informed by feminist and gendered organizational theory, this research utilizes sociologist Joan Acker's framework for studying gendered organizations as a way of augmenting interaction-based perspectives. Applying her approach to a strip club, an overtly gendered setting, this research demonstrates the importance of context in facilitating particular gendered processes, stereotypes, and gendered substructures. (shrink)

This study addresses the gap between policy and practice on the issue of women’s right to own rural land through a qualitative study conducted in Pakistan’s two largest provinces, Punjab and Sindh. A recent survey finds that only 4% of women own rural land in Pakistan. Given the relatively large agrarian economy, land is a key resource determining women’s agency. To understand the dynamics that maintain this status quo, I use two distinct strands of feminist theory. First is Joan (...) Acker’s organizational theory of gender and class structures, to explore the inequality regimes embedded in rural patriarchy. Second, I adapt Suad Joseph’s conceptualization of patriarchal connectivity to show how in rural Pakistan, valorizing kinship works to exclude women from matters pertaining to land and silencing demands for their inheritances. This framework simultaneously allows for a fine-grained analysis of the politico-economic and social structures of rural society, while building an intimate understanding of familial relations. The findings show how land is discursively defined as a collective good to ensure that landed patriarchs remain entrenched within the political and economic order of the state, limiting possibilities, for women, of acquiring agency through owning and controlling rural land. The study also upends the widespread myth of Islamic misogyny, for it demonstrates the political economy of patriarchal domination over religion in Pakistan. (shrink)

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, (...) and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

After the publication of Begriffsschrift, a conflict erupted between Frege and Schröder regarding their respective logical systems which emerged around the Leibnizian notions of lingua characterica and calculus ratiocinator. Both of them claimed their own logic to be a better realisation of Leibniz’s ideal language and considered the rival system a mere calculus ratiocinator. Inspired by this polemic, van Heijenoort (1967b) distinguished two conceptions of logic—logic as language and logic as calculus—and presented them as opposing views, but did not explain (...) Frege’s and Schröder’s conceptions of the fulfilment of Leibniz’s scientific ideal. -/- In this paper I explain the reasons for Frege’s and Schröder’s mutual accusations of having created a mere calculus ratiocinator. On the one hand, Schröder’s construction of the algebra of relatives fits with a project for the reduction of any mathematical concept to the notion of relative. From this stance I argue that he deemed the formal system of Begriffsschrift incapable of such a reduction. On the other hand, first I argue that Frege took Boolean logic to be an abstract logical theory inadequate for the rendering of specific content; then I claim that the language of Begriffsschrift did not constitute a complete lingua characterica by itself, more being seen by Frege as a tool that could be applied to scientific disciplines. Accordingly, I argue that Frege’s project of constructing a lingua characterica was not tied to his later logicist programme. (shrink)

For each natural number n, let C(n) be the closed and unbounded proper class of ordinals α such that Vα is a Σn elementary substructure of V. We say that κ is a C(n)-cardinal if it is the critical point of an elementary embedding j : V → M, M transitive, with j(κ) in C(n). By analyzing the notion of C(n)-cardinal at various levels of the usual hierarchy of large cardinal principles we show that, starting at the level of superstrong (...) cardinals and up to the level of rank-into-rank embeddings, C(n)-cardinals form a much finer hierarchy. The naturalness of the notion of C(n)-cardinal is exemplified by showing that the existence of C(n)-extendible cardinals is equivalent to simple reflection principles for classes of structures, which generalize the notions of supercompact and extendible cardinals. Moreover, building on results of Bagaria et al. (2010), we give new characterizations of Vopeňka’s Principle in terms of C(n)-extendible cardinals. (shrink)

Book reviewed in this article: Ethics in Obstetrics and Gynecology. By Laurence B. McCullough and Frank A. Chervenak.

This paper makes the case for a pluralist, contextualist view of nursing ethics. In defending this view, I briefly outline two current perspectives of nursing ethics – the Traditional View and the Theory View. I argue that the Traditional View, which casts nursing ethics as a subcategory of healthcare ethics, is problematic because it (1) fails to sufficiently acknowledge the unique nature of nursing practice; and (2) applies standard ethical frameworks such as principlism to moral problems which tend to alienate (...) or undermine nursing ethical concerns. Alternatively, the Theory View, which aims to build an independent and comprehensive theory of nursing ethics, is also found wanting because it (1) fails to sufficiently acknowledge the heterogeneous nature of nursing practices; (2) overemphasizes the differences and undervalues the similarities between nurses and other health professionals; and (3) assumes that one ethical framework can be meaningfully applied across diverse moral problems and contexts.My alternative, is to argue that nursing ethics inquiry should take a pluralist and critical stance towards available ethical frameworks and the negotiation of the ethical realm. On this view, the search for moral consensus or a unique ethical framework for nursing is replaced by the task of working strategically with multiple frameworks in order to expand the moral agency of nurses and empower them to positively engage with moral uncertainty as an inevitable feature of living a moral life. I conclude by indicating some of the implications that this has for the teaching of nursing ethics. (shrink)

La teoría de la propiedad de Locke tiene como escenario el estado de naturaleza, cuyo correlato empírico es la colonización inglesa de América. Este es el supuesto que permite articular la apelación a la teología para fundar la propiedad privada de modo unilateral y en cualquier lugar del mundo; el desplazamiento del criterio de necesidad a la teoría del valor para justificarla; así como el supuesto de abundancia que la hace posible sin requerir pacto político ni consenso social. En este (...) sentido, si su teoría de la propiedad resultó esencial para legitimar el liberalismo que moldeó América desde la colonización inglesa y la Constitución norteamericana, el hecho de que América sea el ejemplo para su teórico más temprano y destacado, permite comprender mejor el carácter esencial de la relación entre liberalismo y colonialismo. Locke's theory of property appears in the context of the state of nature, whose empirical correlate is the English colonization of America. This is the basis upon which three elements can be articulated: the appeal to theology in order to found unilaterally private property anywhere in the world; the change from the criterion of necessity to the theory of value to justify private property; and the assumption of abundance which makes it possible without having recourse to political pact or social consensus. In this sense, if Locke's theory of property has come to be essential to legitimize the liberalism which modelled America since the English colonization and the American constitution, the fact that America is the example for its earliest and most distinguished theorist, allows to a better understanding of the essential nature of the relationship between liberalism and colonialism. (shrink)

We explore the consistency strength of Σ 3 1 and Σ 4 1 absoluteness, for a variety of forcing notions.

The ArgumentIt has long been apparent that in the nineteenth century, mathematics in France and England developed along different lines. The differences, which might well be labelled stylistic, are most easy to see on the foundational level. At first this may seem surprising because it is such a fundamental area, but, upon reflection, it is to be expected. Ultimately discussions about the foundations of mathematics turn on views about what mathematics is, and this is a question which is answered by (...) a variety of different groups including mathematicians, students, curricular planners, parents, etc. Mathematical practice rests on some kind of mixture of the answers to this fundamental question which come from these diverse groups. Comparing the cultural matrices which supported mathematics in France and Britain in the first decades of the nineteenth century sheds light on the real though often subtle differences in the ways the subject was pursued in the two countries. (shrink)

In Clinical Ethics, Robert Timko argues that the moral dilemmas of clinical medical practice can best be resolved within a framework of prima facie duties, and that the most stringent duty is that of nonmaleficence. Timko shows that respect for individual autonomy and the principle of beneficence are inadequate for the moral practice of medicine since simple adherence to either principle may be insufficient for the provision of "due care.".

This paper intends to make a revision of the academic literature that focuses social responsibility from a strategic view. In line with the previous ideas, the aim of this paper is to add itself to the group of researches that conceive CSR as an integral part of the business strategy. For this purpose it focuses on studying those relationships that may exist between the firm’s Business Strategy (BS) and the Social Strategy (SS). Based on the assumption that CSR can be (...) strategic to the company and that its application will be based on a social strategy, this research project, wishes to study the way in which it is considered and understood in relation to the business strategy. (shrink)

Natalie Davis is a quintessential storyteller in the way theorized by Walter Benjamin, Hannah Arendt, and Michel de Certeau. Her work decenters history not simply because it grants agency and so historical visibility to those who have been hidden from history or left on its margins, but also because her stories reveal the complexities of human experience and so challenge the received categories with which we are accustomed to thinking about the world.

In this paper we characterize, classify and axiomatize all universal classes of MV-chains. Moreover, we accomplish analogous characterization, classification and axiomatization for congruence distributive quasivarieties of MV-algebras. Finally, we apply those results to study some finitary extensions of the Łukasiewicz infinite valued propositional calculus.

El presente estudio analiza los recientes discursos sobre las guerras actuales. Hemos podido identificar dos tipos de argumentaciones, una proveniente del ámbito belicista y otro del ámbito humanitarista. El primero de estos discursos defiende explícitamente las intervenciones militares y recurre a nociones como el poder y la hegemonía. El segundo en cambio apela a la defensa de valores universales, la democracia y los derechos humanos. No obstante, aun partiendo de posturas teóricas opuestas (incluso enfrentadas), finalmente confluyen en la normalización y (...) legitimación de los conflictos actuales. Así pues, en ambos casos, quedan legitimadas las guerras desde posiciones teóricas opuestas, y además bajo esas teorizaciones quedan relegadas otras opciones no bélicas. Por ello el propósito del presente texto es realizar un repaso y balance de esas teorizaciones, puesto que, aparte de animar el debate intelectual actual, tienen una importante influencia práctica en la forma de concebir los conflictos internacionales (e incluso los conflictos sociales), en los que se juegan la vida de miles de personas. (shrink)

The popular view of non-directive genetic counseling limits the counselor's role to providing information to clients and assisting families in making decisions in a morally neutral fashion. This view of non-directive genetic counseling is shown to be incomplete. A fuller understanding of what it means to respect autonomy shows that merely respecting client choices does not exhaust the duty. Moreover, the genetic counselor/client relationship should also be governed by the counselor's commitment to the principle of beneficience. When non-directive counseling is (...) reexamined in light of both these principles, it becomes clear that there are cases in which counselors should attempt to persuade clients to reconsider their decisions. Such attempts are consistent with non-directive counseling because, while respecting the clients' decision-making authority, they insure that clients act with full knowledge of the moral consequences of their decisions. (shrink)

First published in 1996, _The Embedded Self_ was lauded as "a brilliant and long overdue rapprochement between psychoanalysis and family therapy conceived by a practitioner trained and experienced in both modalities of treatment." Mary-Joan Gerson’s integrated presentation of psychodynamic and family systems theory invited therapists of either orientation to learn the tools and techniques of the other, to mutual benefit. Firmly grounded in detailed case presentations, her focus on family therapy examined its history, organizing concepts, and developmental approaches, and (...) addressed practical questions of diagnosis, clinical interaction, and referrals. A dozen years later, the psychoanalytic community is more open to integrating perspectives, and the growth of analysts working with couples and families necessitates an update of the material presented in _The Embedded Self_. Similarly, the family therapy community has deepened its interest in individual dynamics within systemic patterning. From a new and revised perspective on the possibilities of integration, Gerson covers the latest research in neuroscience and the transmission of affect within intimate relationships, with a new chapter on attachment theory and emotionally focused therapy. Sections on narrative therapy and psychoanalytically-oriented family therapy are expanded as well. _The Embedded Self_ was a sterling introduction to family systems theory and therapy, and enhanced the work of analysts and family and couples therapists alike. The second edition proves no different in its context but wider in its scope, further enhancing the work of the family therapist interested in individual dynamics, and preparing the psychodynamically-oriented therapist who seeks to extend her craft from the dyad to the triad, and beyond. (shrink)

If A ⊆ ω1, then there exists a cardinal preserving generic extension [MATHEMATICAL DOUBLE-STRUCK CAPITAL L][A ][x ] of [MATHEMATICAL DOUBLE-STRUCK CAPITAL L][A ] by a real x such that1) A ∈ [MATHEMATICAL DOUBLE-STRUCK CAPITAL L][x ] and A is Δ1HC in [MATHEMATICAL DOUBLE-STRUCK CAPITAL L][x ];2) x is minimal over [MATHEMATICAL DOUBLE-STRUCK CAPITAL L][A ], that is, if a set Y belongs to [MATHEMATICAL DOUBLE-STRUCK CAPITAL L][x ], then either x ∈ [MATHEMATICAL DOUBLE-STRUCK CAPITAL L][A, Y ] or Y (...) ∈ [MATHEMATICAL DOUBLE-STRUCK CAPITAL L][A ].The forcing we use implicitly provides reshaping of the given set A. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 49-77 [Access article in PDF] The Time of the King Gift and Exchange in Zorrilla's Don Juan Tenorio Joan Ramon Resina There is something paradoxical about José Zorrilla's revision of the Don Juan legend, a certain contradiction between the play's structure and the logic of the action. The character of the protagonist, the form and implications of Don Juan's salvation, the strategies and temporality of (...) seduction, even the play's generic status--all come under the law of self-cancellation. And so does the historical time in which the play is set: the time of absolute monarchy. The proportionality between terrestrial and eschatological time, organic to the play's Golden Age precursor, 1 is strangely neutralized in Zorrilla's work through an expanding temporality without equivalent in the afterlife; and the same is true of the king's dramatic role through his removal from the scene, which he regulates nonetheless as deus ex machina of the social edifice.A nineteenth-century reader, Francesc Pi i Margall, remarked that "Zorrilla hace a Don Juan escéptico o creyente según lo van exigiendo las peripecias de su drama, y merced a esa indeterminación del carácter, le pone repetidamente en contradicción consigo mismo" (Zorrilla makes Don Juan a skeptic or a believer depending on the drama's events, and by virtue of this indeterminacy, he brings his character repeatedly into contradiction with himself) [204]. This indeterminacy affects not only the libertine's relation to religion but also the doctrinal coherence of the play, which has been the object of debate [see Mazzeo; Abrams; Wang; Romero]. Others, curiously, detect a contradiction between the play's sound theological conception and the author, who "quizá no sabe apenas nada de teología" (perhaps knows next to nothing about theology) [Alberich 16]. Yet not only Don Juan's piety but also his seductions appear self-annulling. For Luis Fernández Cifuentes, Zorrilla's most original and thus most revealing decision is "presentar el acto de seducción engañosa en el momento mismo en que deja de serlo: la carta con que comienza el drama participa de una tradición que también cancela. En el curso de la obra, es y no es un instrumento de seducción; sin cambiar de palabras, es a la vez falsa y verdadera... " (to present the act of deceitful seduction at the very moment in which it stops being deceitful: the letter with which the play starts participates in a tradition which it also cancels. Throughout the play the letter is and is not a tool of seduction; its words are at once true and false...) [83]. In the same line of structural contradictions must be included the play's temporality, which runs counter to the causal logic of the action. As Gustavo Pérez Firmat points out: "In Juan's verses normal temporal and causal sequence collapses, for future events are always catching up and outstripping the present, as if time were circular and past, present, and future travelled the circle at different speeds" [7]. Even the play's representativeness as a privileged [End Page 49] instance of Spanish romanticism has been flatly denied in light of its inconsistencies with the patterns of that movement [Gies, "José Zorrilla"]. 2 But perhaps the most telling contradiction is the one between the play's undiminished popularity for almost a century and its author's sedulous efforts to undermine its prestige. 3Author's second thoughts? A repentant artist in ascetic revulsion against mundane acclaim? It seems reasonable to assume a link between the play's popularity and the contradictions to which it gives expression. Thus, taking at face value the tired notion that Don Juan presents a fundamentally Spanish profile, 4 I will inquire whether the play's manifest contradictions are culturally efficient. 5 To this end, I will need to consider a possible incongruity between nineteenth-century forms of consciousness and the objective historical conditions. Joaquín Casalduero already pointed out a discrepancy between historical changes and... (shrink)