The success of assisted reproductive technologies (ARTs) worldwide has led to an accumulation of frozen embryos that are surplus to the reproductive needs of those for whom they were created. In these situations, couples must decide whether to discard them or donate them for scientific research or for use by other infertile couples. While legislation and regulation may limit the decisions that couples make, their decisions are often shaped by their religious beliefs. Unfortunately, health professionals, scientists and policy-makers are often (...) unaware of the way in which faith traditions view ART and decisions concerning the ‘fate’ of surplus embryos. In this paper scholars representing six major religious traditions provide a commentary on a hypothetical case concerning the donation or destruction of excess ART embryos. These commentaries provide a rich account of religious perspectives on the status of the human embryo and an insight into the relevance of faith to health and policy decisions, particularly in reproductive medicine, ART and embryo research. (shrink)

Brian Garrett claims, in defence of Gaunilo’s Perfect Island and contra Plantinga, that ‘Properly understood, the great-making qualities of an island are maximal’. This article demonstrates that they are not, thus ‘the greatest conceivable island’ remains an incoherent concept and Gaunilo’s parody fails.

What makes someone an evil person? How are evil people different from merely bad people? Do evil people really exist? Can we make sense of evil people if we mythologize them? Do evil people take pleasure in the suffering of others? Can evil people be redeemed? Peter Brian Barry answers these questions by examining a wide range of works from renowned authors, including works of literature by Kazuo Ishiguro, Mark Twain, Edgar Allan Poe, Herman Melville, and Oscar Wilde (...) alongside classic works of philosophy by Nietzsche and Aristotle. By considering great texts from literature and philosophy, Barry examines whether evil is merely a fiction. _The Fiction of Evil_ explores how the study of literature can contribute to the study of metaphysics and ethics and it is essential reading for those studying the concept of evil or philosophy of literature at undergraduate level. (shrink)

Peter Brian Herrenden Birks 1941-2004Hugh Redwald Dacre 1914-2003William Hugh Clifford Frend 1916-2005John Andrew Gallagher 1919-1980Philip Grierson 1910-2006Stuart Newton Hampshire 1914-2004William McKane 1921-2004John Malcolm Sabine Pasley 1926-2004Benjamin John Pimlott 1945-2004Robert Duguid Forrest Pring-Mill 1925-2005John Edgar Stevens 1921-2002Peter Strawson 1919-2006Henry William Rawson Wade 1918-2004Alan Harold Williams 1927-2005Bernard Arthur Owen Williams 1929-2003John James Wymer 1928-2006.

This article expands upon the notion of ideology as a material phenomenon, usually in the form of institutionalized, taken-for-granted practices. It draws on Herbert Marcuse and related thinkers to conceptualize technological solutions to environmental problems as materialized ideological responses to social-ecological contradictions, which, by concealing these contradictions, reproduce existing social conditions. This article outlines a method of technology assessment as ideology critique that draws attention to: (1) the social determinants of the given technology; (2) whether the technology conceals or masks (...) social-ecological contradictions; (3) whether the technology reproduces existing social conditions; and (4) whether the technology may be used for more rational or emancipatory ends in different social conditions. The examples of solar geoengineering and agricultural biotechnology are examined and it is found that, in each case, these technological solutions conceal social-ecological contradictions and support the current economic system and those benefiting from it, while precluding other alternatives. (shrink)

This thesis is about toleration as a modality of citizenship for pluralistic societies. Its central argument is that the current dissatisfaction with "mere" toleration which we find so broadly represented in our public and scholarly cultures is based on an underestimation of the capacities and attitudes that toleration entails. The liberal recasting of toleration, sophisticated and indeed invaluable though it is abets this devaluation by focusing too exclusively on public justification and on the Lockean stream of the tradition from which (...) we draw. ;The present thesis begins by tracing some of the difficulties facing the Rawlsian and Habermasian projects if we accept a vivid picture of the pluralisms amidst which we live. It then sketches the central features of a complementary tradition of toleration as it flows to us through the works of Montaigne, William James, Mikhail Bakhtin and others. An attempt is made to show where the resources drawn from this tradition might fit in to a theory of citizenship given reasonable Rawlsian qualms about "thick" public conceptions and given the fissiparous nature of a civil society like ours. The thesis ends with a pair of empirically oriented chapters which show ways in which we could conceive a praxis of toleration which might respond to the issues raised in the earlier sections of the work. (shrink)

Introduction: the fingerprint of spirit -- The subject/object of cinema: The Maltese falcon -- "A deeper breath": from body to spirit in Kiss me deadly -- Negative dioretix: Repo man -- "Jackie Treehorn treats objects like women!": two types of fetishism in The big Lebowski.

This article provides an explanation of Anselm’s understanding of necessity. Anselm did not write much about modality, and what he did write is puzzling. The dominant readings of Anselm see him as having two concepts of necessity, one merely physical or causal, the other logical or “alethic.” This article argues that Anselm has just one concept of necessity, which corresponds best to what is now called broadly logical or absolute necessity, but whose metaphysics is in terms of powers and lacks (...) of power. The rival interpretations of A. D. Smith, Thomas Williams, and Sandra Visser are discussed and criticized in detail. (shrink)

This is a review essay (forthcoming in Notre Dame Philosophical Reviews) discussing Christopher Janaway's book "Beyond Seflessness: Reading Nietzsche's 'Genealogy' (OUP, 2007). Particular attention is given to the question of Nietzsche's style, and the relationship between his philosophical positions and his therapeutic objectives; to Janaway's critique of my account of Nietzsche's naturalism; and to Nietzsche's conception of agency and the meaning of the image (from GM II:2) of "the sovereign individual.".

This reply considers how my article’s approach might be extended by attention to individual, contextual, and ecological processes. I agree that individual learning and agency play important roles in ontogeny; that sociologists have conducted informative work about the interpersonal and institutional contexts shaping on-line emotion construction; and that consideration of the relational niches in which discrete emotions consolidate can help to clarify their abstract structure. Emotion construction works with nonsocial as well as social materials.

In lieu of an abstract, here is a brief excerpt of the content:The Myrmidon vs. the AbbessHow Contrasting Mechanisms to Resolve Mimetic Contagion in Shakespeare's Troilus and Cressida and Comedy of Errors Stand as a Warning Against the Rejection of Christianity in Favor of Resurgent Homeric EthosBrian P. Quaranta (bio)This investigation started with a question: Why does Shakespeare hate the Iliad?The question arose after first reading Troilus and Cressida (T&C), Shakespeare's play set during the Trojan War. In his retelling, all (...) claims to glory for Homer's heroes are undermined; a world that is presented by Homer as brutal but honorable is replaced, by Shakespeare, with one that is rife with social and physical disease. As I continued to consider why Shakespeare displayed such hostility toward the Iliad, I found myself recognizing multiple, much more subtle, allusions to the Trojan War in another of his plays set in ancient Greece, The Comedy of Errors (COE). In time, it became apparent that the connection of these two plays with each other, and with the Iliad, was deliberate; through this comparison, Shakespeare rejects the Homeric ethos in favor of a Christian one. A consideration of René Girard's work on Shakespeare helps to bring home the connection between the plays and the concern that they illuminate.In his Theatre of Envy, Girard famously claimed that Shakespeare was consciously familiar with the concepts of mimetic desire and its relationship [End Page 183] to collective violence.1 He drew upon T&C and COE for examples: T&C for its explication of the importance of degree, its employment of collective murder, and the association of mimetic contagion with disease,2 and COE primarily for its emphasis on the special role of twins in mimetic theory as exemplars of identical rivals.3 Girard, I believe, is correct that Shakespeare understood the mechanisms and implications of mimetic theory, and he demonstrates how in these plays its consequences play out in a purely pagan world, and then in another in which there is a saving Christian intervention.The intellectual current of Shakespeare's time has been characterized by two primary themes: Reformation and Renaissance. The use of the word reformation, when taken on its own terms, suggests a benign and necessary process. But for an Englishman in the late 16th century, reformation also would have meant violence, displacement, fracture, war, and the disintegration of a once-unified Christendom. This crumbling of the ancient universal catholic church was accompanied by the Renaissance, a term used to refer to the rebirth of interest in, and progressive obsession with, the culture and literature of the ancient Greeks and Romans.4 My argument is that the two plays discussed here can be read as Shakespeare's response to these developments, demonstrating an anxiety over the threat of resurgent pagan values to a troubled Christianity, with T&C's ending standing as a warning of the danger of a return to the scapegoat mechanism, and COE reminding the reader of the power of the Christian alternative.The essay begins with a brief reminder of the depth of the enthusiasm for the classical era that emerged in Europe in the century leading up to, and including, the life of Shakespeare. I then detail the surprising ways in which Shakespeare thoroughly upends expectations in his retelling of the Trojan War story, discrediting the original tale. Next, the similarities of the Comedy of Errors to Troilus and Cressida, and to the Iliad, are documented. Because this area has received little previous scholarly attention, and because it is crucial to the argument, the inversions of the Trojan War in COE are meticulously detailed. Once it has been established that the two plays both respond to the Iliad, Girard's mimetic theory is brought to bear to explain the very different endings of the plays and to reveal Shakespeare's underlying concern about the Homeric ethos.THE RENAISSANCE AND SHAKESPEARE'S RESPONSE TO THE CLASSICSThe emerging triumph of the Greco-Roman pagan world over the renaissance mind, and its intrusion into the Christian realm, are evident in the development [End Page 184] of visual art in the decades preceding Shakespeare's work. Works by Michelangelo, Raphael, and Giulio Romano, depicting... (shrink)