Palliative care names as one of its central aims to prevent and relieve suffering. Following the concept of “total pain”, which was first introduced by Cicely Saunders, PC not only focuses on the physical dimension of pain but also addresses the patient’s psychological, social, and spiritual suffering. However, the goal to relieve suffering can paradoxically lead to a taboo of suffering and imply adverse consequences. Two scenarios are presented: First, PC providers sometimes might fail their own ambitions. If all (...) other means prove ineffective terminal sedation can still be applied as a last resort, though. However, it may be asked whether sedating a dying patient comes close to eliminating suffering by eliminating the sufferer and hereby resembles physician-assisted suicide, or euthanasia. As an alternative, PC providers could continue treatment, even if it so far prove unsuccessful. In that case, either futility results or the patient might even suffer from the perpetuated, albeit fruitless interventions. Second, some patients possibly prefer to endure suffering instead of being relieved from it. Hence, they want to forgo the various bio-psycho-socio-spiritual interventions. PC providers’ efforts then lead to paradoxical consequences: Feeling harassed by PC, patients could suffer even more and not less. In both scenarios, suffering is placed under a taboo and is thereby conceptualised as not being tolerable in general. However, to consider suffering essentially unbearable might promote assisted dying not only on an individual but also on a societal level insofar as unbearable suffering is considered a criterion for euthanasia or PAS. (shrink)

Every culture has its own taboos. Communication works better when the participants share more assumptions and knowledge about each other (Scollon & Scollon, 2000). However, in many cases, participants realize the existence of the rules associated with taboos only after they have violated them. Those who do not observe these social “rules” might face serious results, such as total embarrassment or, as Saville-Troike (1989) puts it, they may be accused of immorality and face social ostracism. This paper reports that certain (...) verbal and non-verbal taboos among Chinese people centuries ago still affect their language and behavior choices. Two types of Chinese possible taboos in language and behavior are introduced and compared with cultures of the Koreans and Americans: (1) gift-giving taboos which are phonologically linked to the “separation” and “death” in Chinese society, and (2) verbal expressions which are linked to the twelve zodiac-animals in Chinese traditional metaphors. This research paper also tries to answer two questions related to Asian culture and history: (1) whether Koreans share more of these phonologically-linked taboos than Americans do because Korean language has very similar sounds to Chinese; and (2) whether Koreans share with Chinese people more of the zodiac-animal-linked metaphors (i.e., the rat, the bull/cow, the tiger, the rabbit, the dragon, the snake, the horse, the sheep/lamb, the monkey, the chicken, the dog, and the pig) than Americans do because Korean people also use the same animals as a cycle of every twelve years. Data were collected in two ways: questionnaires and interviews. (shrink)

Controversial taboo appeals as an executional cue in viral advertising have commonly been used by advertisers. In this context, the study investigates the role of medium context on the effectiveness of controversial taboo ads. By implementing a tightly controlled experiment which deals with controversial taboo ads embedded in a press article and in a viral context, the study finds that the viral medium context does not lead to a more positive attitude toward the embedded brand or to (...) more positive purchase intentions. In addition, a viral medium context triggers ‘unintended consequences’ that lead consumers to undermine the level of tabooness of the viral advertising and subjective norms. To increase the external validity of the research, the results were replicated for two kinds of controversial taboo appeals; one related to sexuality, and the other to death. The results provide useful implications for theory and practice. Extending viral advertising research, a different angle on controversial viral advertising has been taken, shifting from an advertiser and brand focus, to a societal and social one. The work leads to a better understanding of the ethics of controversial viral advertising, and demonstrates its role in the trivialization of taboo behaviors and imagery. The results confirm the need for more regulation of online buzz communication and encourage regulatory bodies to extend policies of viral advertising regulation. (shrink)

"Death is a subject which has always been high on the philosophical agenda. But strangely enough the historically and traditionally most important aspect of that subject - the so-called transcendent problem of death, i.e. the question of what actually happens to mind or consciousness after physical death - is almost taboo-laden within modern academic philosophy." "It is, however, the contention of this book that a discussion of the transcendent problem of death makes good sense even (...) on contemporary premises, granted the fulfillment of certain preconditions that should not be rejected offhand." "The main parts of this book deal with questions concerning the viability of preconditions such as mind-body dualism, a substance-theory of mind, a non-reductionist view of personal identity, the notion of 'a minimal self', the persistence of the phenomenal 'now' etc." "In this connection the author presents and evaluates a number of arguments pertaining to the view that, even though an individual mind may contain outward-directed functions that allow it to relate to physical and social surroundings, it has an ontologically peculiar self-enclosed mode of being relative to the physical world. Hereby an understanding of 'the ontology of mind' is achieved, which indicates the possibility of a revival of some old and extremely important metaphysical questions which are commonly and unjustly neglected - for instance the transcendent problem of death." --Book Jacket. (shrink)

Death across human history is codified and controlled by religion, dogma, or social￾political circumstances. However, it is possible to take death out of these realms, instead dying how one wishes. One can design their own death. I will argue that human trans-death can be an intentional performance by persons and that this intentional performance can be combined with the newest and most novel methods of preserving a consciousness. This thesis opens possibilities for future exhibitions and live (...) performances combining art and innovative post-life, post-mortem (what I call “trans-death”) technologies. Possible performances or exhibitions combining art and innovative trans-death technologies include: people doing staged-performances while in their last years of life about their deanimation; public display of cryonically suspended (vitrified) bodies; and if consciousness is ever able to be digitized, the possibilities expand to any number of scenarios explored in anime shows and sci-fi literature or movies. The ethical and political implications of permissibility, freedom, and societal consequences of such artistic and technological expressions are not detailed, but some positions are outlined. A case study is utilized: the last years of life of famous and controversial Timothy Leary (1920-1996) and his struggle with prostate cancer. My analysis of the life and work of Timothy Leary - especially the text he mostly wrote Design for Dying (1997), it was edited by R.U. Sirius - is my theoretical foundation. (shrink)

Rape is a form of violence that causes destructive consequences to both the physical and spiritual health of women. Due to its taboo nature as well as the societal response to the victim, rape is especially harmful and results in han, a Korean concept that signifies a compressed suffering. The continual torment caused by han damages the rape victim’s spiritual health and ultimately leads to spiritual death. This article offers a definition of spiritual death and explores how (...) the experience of the violent act of rape within a rape culture constructs han. Specifically, the victims’ inability to express pain as well as assumed qualities of shame, self blame, and invisibility are examined with a focus on the societal response’s ability to provoke these qualities, further contributing to the emotional and spiritual trauma which results in a spiritual death. The possibility for multiple spiritual resurrections through various practices including the application of the traditional practice of Han-Pu-Ri, a Korean shamanistic ritual that releases han is discussed. (shrink)

The celebrated author of _Gender Trouble_ here redefines Antigone's legacy, recovering her revolutionary significance and liberating it for a progressive feminism and sexual politics. Butler's new interpretation does nothing less than reconceptualize the incest taboo in relation to kinship -- and open up the concept of kinship to cultural change. Antigone, the renowned insurgent from Sophocles's _Oedipus,_ has long been a feminist icon of defiance. But what has remained unclear is whether she escapes from the forms of power that (...) she opposes. Antigone proves to be a more ambivalent figure for feminism than has been acknowledged, since the form of defiance she exemplifies also leads to her death. Butler argues that Antigone represents a form of feminist and sexual agency that is fraught with risk. Moreover, Antigone shows how the constraints of normative kinship unfairly decide what will and will not be a livable life. Butler explores the meaning of Antigone, wondering what forms of kinship might have allowed her to live. Along the way, she considers the works of such philosophers as Hegel, Lacan, and Irigaray. How, she asks, would psychoanalysis have been different if it had taken Antigone -- the "postoedipal" subject -- rather than Oedipus as its point of departure? If the incest taboo is reconceived so that it does not mandate heterosexuality as its solution, what forms of sexual alliance and new kinship might be acknowledged as a result? The book relates the courageous deeds of Antigone to the claims made by those whose relations are still not honored as those of proper kinship, showing how a culture of normative heterosexuality obstructs our capacity to see what sexual freedom and political agency could be. (shrink)

Belief in some kind of life after death is a widespread feature of human cultures. Attitudes to death and dying in western culture are increasingly varied and variable. Death is often still a taboo subject in conversation. There is some evidence that, despite some decline, belief in some kind of post-mortem existence is resilient. The decline in belief is most notable in terms of ‘hell,’ but belief in life after death is also becoming more diverse. (...) Holland's poem suggests that death might be less of a threat than is sometimes the perception. Death is seen by him, stared out, embraced even, certainly walked steadily toward. What does the believing community actually believe about death and beyond? (shrink)

Taboos restrict what could but should not be done or said in relation to topics such as bodies and their effluvia, disease, death and killing, or food consumption (Allan & Burridge, 2006, p. 1). In...

Explore the Resistance to Death, and Awaken More Fully to Life Death is simply one more aspect of being a human being, but in our culture, we've made it a taboo. As a result, most of us walk through life with conscious or unconscious fears that prevent us from experiencing true contentment. Embracing the End of Life invites you to lean into your beliefs and questions about death and dying, helping you release tense or fearful energy (...) and awaken to a more vital life now. Preparing mentally, emotionally, and spiritually for this inevitable transition provides improved clarity and strength. This book shares the idea of death as a journey of three steps—resistance, letting go, and transcendence. With dozens of exercises, practices, and meditations, author Patt Lind-Kyle helps you experience your truest, most expansive self. Exploring multiple aspects of life and death—with everything from chakras and the Enneagram to living wills and health care directives—this book is meant to help you unwind the challenge of death and discover the truth of your own path to inner freedom. Praise: "The fear of dying keeps countless people from living fully—as well as keeping countless others trapped in endless suffering. Embracing the End of Life will help all of us prepare joyously for the inevitable."—Christiane Northrup, MD, New York Times bestselling author of Goddesses Never Age Winner of a 2018 Gold IPPY Award. (shrink)

Elvio Fachinelli was a leading Italian psychoanalyst of the 1960s-80s whose clinical, theoretical, and radical work resonated well beyond his discipline. In The Still Arrow, Fachinelli launched an interdisciplinary investigation ranging from anthropology to politics and the history of religions to the critique of ideology. From a psychoanalytic standpoint, individual obsessional neurosis is firmly connected to a process of repudiation of death. But Fachinelli argued that similar elaborations on time are also present at the group level, in disparate social (...) and historical contexts, for instance, in the archaic transformation of the dead into ancestors and in what he named "the fascist phenomenon." Originally written in Italian in 1979, this book displays Fachinelli's eclectic methodology, which came to serve as a precursor to Slavoj Zizek's work. Fachinelli differs from Freud's attempt in Totem and Taboo to equate individual psycho-libidinal predicaments with those of whole societies, and he points out an unbridgeable difference between the two. At the same time, for Fachinelli, that difference always remains one of degree, not of principle. He explores many questions about time, such as history's status not only as the sum of all possible histories but also of impossible ones. This first English translation of Fachinelli's work, The Still Arrow introduces a major critical European voice to the larger readership. (shrink)

While the motif of the double serves a prominent role in Freud’s writings from early on, this essay is an examination of the determinative power of the double in two key texts, texts in which specific, new sets doubles emerge for the first time in Freud’s career. Totem and Taboo features a double that manifests itself primarily in the form of ambivalence. Beyond the Pleasure Principle features a double that manifests itself primarily in the form of a very peculiar (...) conflict that also entails complicity. (shrink)

In this essay, I consider the philosophical purposes served by Seneca’s insistently violent imagery and argue that Seneca appears to provide what I term an “erotica of death.” In the Roman context, a context in which violence and violent death are regular features of popular entertainment, there is a worry that Seneca’s vivid depictions of violent death can only aim at eliciting more of the intoxicating pleasure Romans derived from their spectacles. However, where the spectacle features as (...) a species of death denial, a “pornography” in which death is stripped of its emotive and symbolic content, Seneca provides an “erotica” in which raw physical detail serves to announce and evoke emotive responses to death. He thus works against the Roman taboo on expressing fear and the equation of fear with cowardice in order to court the dismay and disgust necessary as a precondition for a robust therapy for death anxiety. (shrink)

El moderno tabú de la muerte se manifiesta en algunas residencias de ancianos mediante el ocultamiento de los fallecimientos producidos y la aparente eliminación de los ritos, el luto y el duelo. No obstante, del tabú surgirán prácticas proxémicas que derivarán en nuevos rituales funerarios. La pandemia exacerbará dichas prácticas.

Whether in her life or in her work, however, this difficulty with grieving recurs too often, and too insistently, to be passed off as a matter of artistic temperament. Its presence in her experimental fiction—elegies for her dead brother in To the Lighthouse, the taboo on grieving in Mrs. Dalloway—suggests rather a compulsive need to cope with death. Indeed, while writing To the Lighthouse she had even thought of supplanting "novel" as the name for her books with something (...) like "elegy." Perhaps "abortive elegies for our times" would be more appropriate since she refuses in these books to deal with death and grieving in any direct or open way, and her elegiac impulse—by which writer and reader alike may normally work out grief through formal measures—is delayed, disguised, or thwarted, at best only partially appeased. Her refusal seems to me characteristic of our times, or of that struggle against Victorian odds which helped to make our times. Mark Spilka, professor of English at Brown University and editor of Novel, is the author of works on Lawrence, Dickens, and Kafka. The present essay will be a chapter in his Virginia Woolf's Quarrel with Grieving. See also: "Virginia Woolf's Criticism: A Polemical Preface" by Barbara Currier Bell and Carol Ohmann in Vol. 1, No. 2. (shrink)

In the spring of 2008, the artist Georg Schneider announced an art performance with a mortally ill person. Most of the responses to this art project were very critical. While the artist argued that the exhibition of a dying person should be understood as a humanistic intervention against the social taboo of death, commentators often criticized the exhibition as voyeuristic. Based on this discussion, the article explores what it means to stage a dying person as a piece of (...) art and investigates the historical conditions of this project by locating the longing for ethic and aesthetic self-determination within the humanistic tradition of the modern concept of the work of art. (shrink)

This essay is focused on a difficult passage in Varrò, rust. 2,5,3-4, which is quoted, explained and partially corrected by Columella. Both passages are for us a valuable source of information about the capital sentence inflicted, in a very early age, on the person who caused the death of the ploughing ox. However, a contradiction or apory can be observed in the attitude of the two authors. On the one hand - as admirers of the mos maiorum - they (...) seem to praise the innocence and the restraint of the ancients, who showed so much respect for so beneficent an animal. On the other hand, in their roles as instructors of the most efficient farming techniques, they are keen on the profits assured by the raising of farm animals, and discuss without embarrassment the slaughter of oxen and the eating of beef. In Greece, the Attic Bouphonia, with all their functional ambiguities, marked the transition from the age of the bloodless sacrifice - praised and placed forever in the archives of history - to the "modern" age of slaughter; on the contrary, Roman culture lacked a similar rite that could somehow reconcile the two antithetical ideas, the ancient taboo about the slaying of domestic animals and the actual killing as performed in historical times. (shrink)

The article investigates the relationship between aesthetics and the architectural preservation of the past through three issues: the analysis of the ontological status of the object to be preserved, the approaches to it and the taboo of death.

Through a discussion of the work of Marie Cardinal and Annie Ernaux, this article aims to problematize the anglophone academic world's tendency to associate French feminisms predominantly with avant-garde or highly theoretical texts. The work of Ernaux and Cardinal is presented alongside a discussion of its reception by readers and critics in France, and by academics in English-speaking countries. The first part of the article identifies aspects of Ernaux's and Cardinal's works which cannot be encompassed within a critical framework based (...) on the dichotomy between naïve realism on the one hand and the politically and linguistically radical text on the other. Ernaux's plain language, for instance, is clearly very unlike the linguistic experimentation of ‘feminine writing’; nonetheless the emphasis on social class in her writing constitutes a political intervention which is at least equally valid. The reception study in the second part of the article provides further evidence of the relevance to gender politics in France of Cardinal's The Words to Say It (1975) and texts published by Annie Ernaux in the 1980s and 1990s. The ambivalent response of critics seems to indicate the troubling nature of writing which combines the codes of realism and autobiography (or autobiographical fiction in Cardinal's case) with the depiction of taboo subjects such as menstruation, or a daughter's response to her mother's debilitating illness and death. The article also charts the widespread popularity of these texts in France, particularly with women readers, and gives some examples of the pleasures described in letters to the authors. In conclusion, we argue that the ambivalent space between popular and high culture occupied (albeit differently) by Ernaux and Cardinal may be particularly effective in terms of gender politics, and that even in the late 1990s, the personal may be as political as ever. (shrink)

The availability of willing providers of medical assistance in dying in Canada has been an issue since a Canadian Supreme Court decision and the subsequent passing of federal legislation, Bill C14, decriminalised MAiD in 2016. Following this legislation, Hamilton Health Sciences in Ontario, Canada, created a team to support access to MAiD for patients. This research used a qualitative, mixed methods approach to data collection, obtaining the narratives of providers and supporters of MAiD practice at HHS. This study occurred at (...) the outset of MAiD practice in 2016, and 1 year later, once MAiD practice was established. Our study reveals that professional identity and values, personal identity and values, experience with death and dying, and organisation context are the most significant contributors to conscientious participation for MAiD providers and supporters. The stories of study participants were used to create a model that provides a framework for values clarification around MAiD practice, and can be used to explore beliefs and reasoning around participation in MAiD across the moral spectrum. This research addresses a significant gap in the literature by advancing our understanding of factors that influence participation in taboo clinical practices. It may be applied practically to help promote reflective practice regarding complex and controversial areas of medicine, to improve interprofessional engagement in MAiD practice and promote the conditions necessary to support moral diversity in our institutions. (shrink)

Cultural competence, a clinical skill to recognise patients' cultural and religious beliefs, is an integral element in patient‐centred medical practice. In the area of death and dying, physicians' understanding of patients' and families' values is essential for the delivery of culturally appropriate care. Dementia is a neurodegenerative condition marked by the decline of cognitive functions. When the condition progresses and deteriorates, patients with advanced dementia often have eating and swallowing problems and are at high risk of developing malnutrition. Enteral (...) tube feeding is a conventional means of providing artificial nutrition and hydration to meet nutritional needs, but its benefits to the frail population are limitedly shown in the clinical evidence. Forgoing tube feeding is ethically challenging when patients are mentally incompetent and in the absence of an advance directive. Unlike some developed countries, like the United States of America, death and dying is a sensitive issue or even a taboo in some cultures in developing countries that forgoing enteral tube feeding is clinically and ethically challenging, such as China and Malaysia. This article in three parts 1) discusses the clinical and ethical issues related to forgoing tube feeding among patients with advanced dementia, 2) describes how Hong Kong Chinese, North American, and Malaysian Islamic cultures respond differently in the decision‐making patterns of forgoing tube feeding for patients with advanced dementia, and 3) reiterates the clinical implications of cultural competence in end‐of‐life care. (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

In recent years, suicide has become the leading cause of unnatural death among college students in China. Psychological monitors, as class cadres who manage affairs related to mental health within their classes, are critical in identifying and intervening in psychological crises among their classmates. In China, however, talking about death is a cultural taboo, and many mental health workers have expressed concern about their implementation of interviews about suicide with others. Generally speaking, interviews with suicidal classmates are (...) usually conducted by professional psychological experts and psychological monitors. Such classmates that have undergone both the aforementioned types of interviews were investigated in this paper. However, this paper focuses on two issues. Firstly, what are the perceptions of classmates who have been interviewed toward the experience of being interviewed by psychological monitors? Secondly, what are the psychological monitors' perceptions of their implementation of interviews about suicide with classmates? In this study, 1,664 classmates who had been interviewed and 1,320 psychological monitors were surveyed by means of an online questionnaire. The results showed that classmates who have been interviewed perceived their experience of being interviewed by a psychological monitor about suicide more positively than the psychological monitors who viewed their implementation of interviews about suicide with classmates. Among the classmates who have been interviewed, three categories of classmates have more positive perceptions of their experience of being interviewed by a psychological monitor about suicide. Category one is males. Category two is those who were willing to seek help from the psychological monitors. Category three is those who had a more correct attitude toward mental illness. Among the psychological monitors, three categories of psychological monitors have more positive perceptions of their implementation of interviews about suicide with classmates. Category one is those who have the experience of implementing interviews with their classmates. Category two is those who have received training. Category three is those who had a more correct attitude toward mental illness. Psychological monitors can interview classmates confidently, and the training of psychological monitors on mental health knowledge should be strengthened in universities. (shrink)

The paper discusses inappropriate (futile) treatment by analyzing the casuistics of palliative patients in the terminal stage of illness who are hospitalized at the Department of Internal Medicine and Geriatrics of the Faculty hospital with policlinic (FNsP). Our research applies the principles of palliative care in the context of bioethics. The existing clinical conditions of healthcare in Slovakia are characteristic of making a taboo of the issues of inappropriate treatment of palliative patients. Inductive-deductive and normative clinical bioethics methods of (...) palliative care and ethical strategy are applied for defining issues found in inappropriate hemodialysis treatment. An algorithm of hemodialysis treatment requires the definition of those lege artis criteria which, in the context of a patient’s autonomy and his/her decision, precondition the avoidance of the situation in which hemodialysis treatment is inappropriate (futile). Futile treatment in a terminal condition is ethically inappropriate medical treatment that extends the suffering of patients and their relatives. Its definition is determined by the relevant legislation and the methods of bioethics. An active palliative strategy is aimed at managing the process of incurable diseases in the patient’s bio-psycho-socio-spiritual continuity in the process of special bioethics. The global bioethical objective of general bioethics for palliative care is based on the paradigm of social harmony and solidarity in the context of an authentic modus of the patient’s existence as a constitutive principle for the phenomenon of the patient’s being to finite being (death). (shrink)

Euthanasia and psychological suffering: empathy beyond any taboo? Nowadays, when facing the death wish of a patient, a psychiatrist in Belgium or the Netherlands may legally initiate euthanasia. Proponents of this situation argue that a psychiatric patient’s autonomy and the seriousness of his or her suffering ought to be acknowledged and taken fully seriously. A psychiatrist’s consent to euthanasia will here have to be grounded on an assessment of psychological suffering that cannot be purely medical in character, which (...) in turn will have to depend, for a good deal, on empathy. However, a closer look at such empathy uncovers various paradoxes and leads to the conclusion that a psychiatrist with the kind of empathy that is appropriate to his or her role, i.e., ‘cognitive’ empathy, will resist rather than go along with the patient’s death wish. (shrink)

A vivacious biography of the prophetic and sympathetic philosopher who along with Voltaire and Rousseau built the foundations of the modern world, and travelled as far as Russia to enlighten the Tsarina Catherine the Great. Denis Diderot is often associated with the decades-long battle to bring the world's first comprehensive Encyclopédie into existence. But his most compelling and personal writing took place in the shadows. Thrown into prison for his atheism in 1749, Diderot decided to reserve his most daring books (...) for posterity-for us, in fact. In the astonishing cache of unpublished writings that he left behind after his death, Diderot dreamed of natural selection before Darwin, the Oedipus complex before Freud, and genetic manipulation centuries before Dolly the Sheep was born. Even more audaciously, the writer challenged virtually all of his century's accepted truths, from the sanctity of monarchy, to the racial justification of slave trade, to the limits of human sexuality. He was also keenly aware of the dangers of absolute power, about which he wrote so persuasively that it led Catherine the Great not only to support him financially but also to invite him to St. Petersburg. In this thematically organized biography, Andrew Curran vividly describes Diderot's tormented relationship with Rousseau, his feud with Voltaire, his tortured marriage, his passionate affairs, and his often-paradoxical stand on art, morality, and religion. But what this book brings out most brilliantly is how a man's character flaws and limitations are often the flip side of his genius and his ability to break taboos, dogmas, and conventions. (shrink)

Freud, the Contemporary Super ego and the West traces the origins of the relationship between the morality of the super ego and the destructive impulse of the death drive in the liberal democracies of the twenty first century. Giosue Ghisalberti begins by refuting the analysis by contemporary social theorists of the phenomenon described as the return of the religious, presenting instead a comprehensive set of ideas as outlined by Freud. Ghisalberti argues that the West has regressed to an infantile (...) and primitive present, driven by an unconscious hostility towards the Oedipus complex and, more comprehensively, the obsessional neuroses. The book reexamines Freuds early psychoanalytic ideas on the nature of obsessions, interpreted from the murder of the primal father in Totem and Taboo, and returns to his grounding ideals and a comprehensive defense of the coming to be human in modernity. Freud, the Contemporary Super-ego and the West will be of great interest to psychoanalysts in practice and in training. It will also be key reading for academics and scholars of psychoanalytic studies, philosophy, political theory and the humanities. (shrink)

This paper was first presented at the London Medical Group's Annual Conference entitled Death: the last taboo held in February 1980. Dr Vere comments on the evidence of research done by him and his colleagues on the pain and discomfort suffered by patients who are dying and are in hospital. He contrasts this with the situation in hospices, analyses the differences, and attributes much of the unnecessary pain suffered in hospitals to attitudes of staff, as well as to (...) a reluctance by relatives to allow patients with terminal pain to die at home. He deprecates the tendency in hospitals to separate 'curing' and 'caring' and suggests that sometimes the best help involves 'doing' less, not more. (shrink)

Discussions of eroticism usually commence with references to Georges Bataille and his L’Erotisme, whose first English edition was published under the title Death and Sensuality: A Study of Eroticism and the Taboo, thus encouraging analyses in terms of transgression. This article opens with a quotation from Zygmunt Bauman’s essay, “On Postmodern Uses of Sex,” which reflects on the instability of the concept and emphasizes its contextualization. This openly declared incongruity raises questions of applicability. What is meant by eroticism (...) today, i.e. in and after postmodernism? The article seeks to explore the relevance of the term in studies of urban drama and tries to suggest a workable approach that would differentiate between the commonly observable erotic material found on display within the premises of the city and the eroticism of the city itself. In the latter case the erotic relationship involves the materiality of the urban context and its user. The essay, focusing on drama, assumes that plays are written for the stage-their proper mode of existence-and deems it necessary to include the city/theatre and city/drama interdependence as well as the nexus of concepts such as urban drama and its genre restrictions into the following analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:My Circumcision Decision:A Journey of Inquiry, Courage and DiscoveryLaurie EvansBefore becoming a mother, I was teaching parents to massage their babies and offering trainings for professionals. To promote my work, in 1984, I exhibited at the Whole Life Expo in New York City. When I returned to my booth after a break, I noticed someone had left a pamphlet by Edward Wallerstein, who wrote "Circumcision: An American Health Fallacy." (...) Since I am naturally curious, I read it. Disturbed, I thought of tossing it. But, how could I be teaching a nurturing technique for newborns and avoid this topic? As a Jewish woman, how would I make the decision for my own future sons? Little did I know this one piece of paper would lead me on a path of inquiry that would change my life.One of the presenters at this conference was Dr. Robert Mendelsohn, an Orthodox pediatrician. Although Dr. Mendelsohn realized some parents would allow circumcision for religious reasons, he was honest enough to dispel every medical myth and explain the harm of removing normal functioning tissue. He also described possible complications from removing the foreskin, including infection, hemorrhage, and although rare, death.To learn more, I read whatever I could find on the topic. I attended midwifery and childbirth conferences to promote my work and prepare for when I became pregnant. I decided to ask about circumcision, but the conversations were awkward and I received little helpful information. I found that circumcision was a taboo topic; few people wanted to talk about it. Why? Doctors who perform circumcisions, nurses who recommend it, and parents who consent to it do not want to face the reality of the harm they cause. Instead of facing the pain, they avoid the topic, and the procedure continues. Most men do not want to discuss or think about their own circumcisions. I learned that we need to have compassion during these conversations.A Jewish ritual ceremony (bris) is performed on the eighth day after the boy's birth, and includes circumcision and prayers. At a bris, friends and relatives are invited to observe and celebrate. It is part of my heritage. I tried to talk to my relatives about the information I had found, but everyone refused to discuss it. This avoidance made my decision very difficult. Then, for the first time, I was invited to a bris; I didn't want to attend. However, I had been at the boy's birth, so I decided to go to offer support. During the circumcision, my reaction was intense: I wanted to take the baby and run. I felt like an accomplice. I wanted to grab people by the [End Page E2] shoulders and scream, "How dare you?" I vowed I would never attend another bris, and I made the decision to write publicly instead of anonymously.I still had doubts, because I didn't know one intact adult male. What if I were to have a son, keep him intact, and he developed a complication later in life? I have learned that doctors are not taught non-invasive solutions, so most circumcisions performed after infancy are unnecessary. A Jewish doctor recommended a circumcision for a seventynine year old man who had a persistent rash that would not respond to treatment. Our organization suggested that he apply topical acidophilus. After he followed the recommendation, the rash disappeared, so he canceled the circumcision.In 1985, I became pregnant. Like many women I spoke to, I didn't want to face the circumcision decision, so I prayed for a girl. Our childbirth educator shared about male circumcision, which led to conversations with my husband. These tense interactions ended in an impasse. I wondered how this decision would impact my marriage. I experienced immense relief that my firstborn was a girl. Time was on my side.One day while walking in New York City, I serendipitously crossed paths with my childbirth educator. She was going to the United Nations to oppose female circumcision. I was in my 30s and had a master's degree in teaching. I had studied massage and anatomy. Yet, I had never heard about this tribal ritual. I had... (shrink)

The living body appears like an endlessly renewable reservoir of authenticity, hope, and taboo. But, for the sake of conceptual clarity, we are often been told that the (mere) body should be distinguished from the flesh. That is, it’s undeniable that I have a body; that I notice yours; that we worry about their birth and death and upkeep. But the flesh is a more transcendentalized, loaded concept – not least given its frequently religious background (incarnation: the Word (...) made Flesh). It is the body ‘kicked upstairs’, ‘bumped up’ one ontological level. Flesh is like a mantra, an obsessive leitmotif. Is the difference just one of abstraction? Indeed, crucial to the narrative of phenomenology (most obviously in Merleau-Ponty but really, throughout, including in enactivism), to the story of ancestor worship and identity it tells itself and its acolytes around the campfire, is a basic distinction between the merely physical body and the flesh as something requiring ‘mineness’, namely, an understanding of it as uniquely ‘my own’, a feeling of ‘what it is like to be embodied’. This goes back to the Husserlian distinction between Körper, ‘body’ in the sense of one body among others in a vast mechanistic universe of bodies, and Leib, ‘flesh’ in the sense of a subjectivity which is the locus of experience. In this essay I reflect on this vision of the body’s authenticity and its costs, and contrast it with insights derived from Georges Canguilhem, whose critique of mechanism/mechanicism is not done in the name of a wholescale organicism and/or an unproblematized éloge of embodiment and privacy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Brief Mention: Shameless Interests: The Decent Scholarship of Indecency*Kenneth J. ReckfordGood intentions go astray. I had meant simply to celebrate the ease and naturalness with which classical scholars treat obscene subject-matter nowadays, but there were difficulties, which may prove instructive.I had felt oddly grateful, after reading and reviewing Dover’s 1993 Frogs, for how he explained (and of course, printed) the old scatological jokes that Merry (1905) had omitted, and (...) which Adam Parry copied onto the blackboard for our fascinated Greek 106a class in fall, 1951. How strange they seem now, all those expurgated editions, those unhelpful commentaries, those mystery-keeping professors. Like Byron, we all had comic encounters with the “grosser parts”:They only add them all in an appendix,Which saves, in fact, the trouble of an index...Perhaps we worked harder than Byron. I remember, early on, struggling with Cat. 56 (which even Housman misinterpreted in his notorious 1931 “Praefanda,” for Catullus does not look on, masturbating, but plunges in, making a threesome); and I struggled with Martial. I may even, at sixteen, have been the last of the Victorians, learning about sexual by-paths from Latin poetic grammar and syntax. (Loebs were forbidden under pain of death: but had I consulted Ker’s Martial, I would have found the offending passages translated into Italian, not English: “On the theory,” Rolfe Humphries once said, “that God doesn’t understand Italian.”) We laughed; it was good fun. Yet our half-prurient inquisitiveness was mixed with genuine philological research; we resented roadblocks to learning; and years later, when Fordyce’s Catullus appeared with twenty-two “dirty poems” left out, we felt absolutely betrayed.So I give thanks for unexpurgated texts and helpful commentaries (such as Dover’s Clouds and Frogs, and Henderson’s Lysistrata, and Ferguson’s Juvenal); for good translations, too, like Charles Martin’s The Poems of Catullus (Johns Hopkins, 1990), which combines plain speaking with a certain subtle elegance. I honor the pioneers: Arrowsmith and Parker, and Sullivan; Henderson’s Maculate Muse (1975) and Dover’s Greek Homosexuality (1978; earlier writings too); Adams’ Latin Sexual [End Page 311] Vocabulary (1982) and Richlin’s Garden of Priapus (1983).* Here were basic materials for further study and interpretation. Definitions and distinctions came first: between primary obscenities and euphemisms; between different generic conventions and expected attitudes (as in oratory, comedy, epigram). In art, too, the blacking-out of erect penises on Greek vases has been removed; wall-paintings from Pompeian brothels have been made accessible, even without a bribe; budding scholars of both sexes discourse learnedly on such subjects as “Male Discharge Imagery on Greek Vase-Painting” (at a 1995 colloquium); and now Martin Kilmer’s Greek Erotica (1994) has brought new precision to the study of, e.g., intercrural intercourse between “courting” men and youths, and heterosexual intercourse a tergo (where an oil flask may suggest anal penetration, as against vaginal). The details, the illustrations and descriptions, are increasingly accurate. Gradually, too, old-time scholarly taboos have been breached, so we can handle “dirty” words and pictures without fear of degradation. We are most grateful that obscenities are no longer kept in quarantine, or treated as the exclusive hunting preserve of a “gentleman’s club” (writing in Latin, of course), so that, taking our cue from Catullus and Martial, whose “poems are dirty but our lives were pure,” we may pursue the decent scholarship of indecency.Let me, though, introduce two caveats for philologists. First, that the poetic indecencies of Aristophanes, Catullus, Martial, and Juvenal remain “untranslatable”: not from embarrassment now, but from linguistic impotence. Take Catullus’ mentula, that ugly, dangling noun, so much more evocative than “prick” or “cock”; or take irrumabo and irrumator, those powerful, almost onomatopoeic four-syllable words. “Fuck in the [End Page 312] mouth” (early Richlin) explains but loses the tone. Martin does better with Cat. 16:I’ll fuck the pair of you as you prefer it,oral Aurelius, anal Furius...a touch of wit, accessible to non-Latinists. (Will Shackleton Bailey’s new Loeb of Martial send American students scurrying to their dictionaries to look up “sodomized”?)My second caveat is more nostalgic. In our innocent (or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:DHARMA AND DESTRUCTION: BUDDHIST INSTITUTIONS AND VIOLENCE Christopher Ives Stonehill College Photographs ofgentle monks in saffron, the cottageindustry ofbooks on mindfulness, and the Dalai Lama's response to the Chinese invasion of Tibet have all helped portray Buddhism as the "religion of nonviolence." This representation ofBuddhism finds support in Buddhist texts, doctrines, and ritual practices, which often advocate ahimsa, nonharming or non-violence. The historical record, however, belies the portrayal of (...) Buddhism as a "religion of nonviolence." By reinterpreting early doctrines of ahimsa, Buddhist thinkers have legitimated violence in particular situations, practitioners have committed acts of violence, and Buddhist institutions have lent support to other institutions—social, political, and governmental —engaged in violence. In this paper I will examine Buddhist perpetration andjustifications ofviolence,1 with particularfocus on Japan, arguing that, historically, Buddhists' desire for institutional security has taken precedence over total rejection of violence. 1 I have restricted my discussion to the killing of other human beings. I do not consider suicide andthe killing ofnon-human animals. For a discussion ofBuddhism, (self-)sacrifice, and suicide in relation to Girard's theory, see Charles D. Orzech, '"Provoked Suicide' and the Victim's Behavior." 152Christopher Ives Non-violence The doctrine of ahimsa figures prominently in early and Theravadan Buddhism. The first ofthe five moral precepts (panca silani) in Buddhism is ahimsa, and in the Dhammapada the historical Buddha purportedly states, All are afraid of the rod. Of death all are afraid. Having made oneself the example, One should neither slay nor cause to slay. (Ross 202) The Buddhaalso sketches the consequences ofhurting orharming (himsa): Who with a rod does hurt Beings who desire ease [of nibbana], While himself looking for ease— He, having departed, ease does not get. Theravadan monastic codes and practices, such as the uposatha biweekly confession of moral transgressions and recitation of the 227 rules in the Patimokkha (Skt. Pratimoksa), are closely tiedto ahimsa. One ofthe Patimokkha's four "offenses of defeat" (parajika dharmas), for which the punishment is immediate expulsion of the monk or nun from the order, is killing another human being (Prebish 11). Mahayana texts continue this exhortation against violence. For example, in the Dasabhimika-sutra we read that a Buddhist "must not hate any being and cannot kill a living creature even in thought."2 Early Buddhist texts include depictions ofthe ideal Buddhist king, the cakravartin-raja or "monarch who turns the wheel [of the Dharma],"3 as an exemplar of nonviolence. Contemporary Buddhist activist Sulak Sivaraksa expresses it, this king is a "an ideal ruler, a world-conquering monarch, who subdued the earth through righteousness rather than war" (Sulak 129), and whose ten main duties include striving for peace and ruling with nonviolent benevolence (129). For well over 2000 years 2 Cited in Har Dayal, The Bodhisattva Doctrine, p. 199; quoted by Kraft, 5. In much ofthe first section of this paper I am indebted to Ken Kraft's introduction to his volume. 3 The metaphor ofturning the wheel refers to the historical Buddha's teaching ofthe Dharma and the later propagation of it by others. Dharma and Deconstruction153 Buddhists have lifted up Indian king Ashoka (c. 272-236) as an instantiation of this ideal. The early Buddhist doctrine of ahimsa should not, however, be construed as compassionate altruism. Luis Gómez and other scholars have delineated how ahimsa at first did not express some sort of underlying altruistic concern for the well-being of others. Vegetarianism and other ways of avoiding himsa, harming or violence, derived from ancient Indian ritual taboos againstblood and otherbodily liquids (Gómez 36). Buddhists ethicized and psychologized earlier notions of physical pollution, and advocated abstention fromviolenceprimarily as ameans ofself-cultivation, as a way to keep the mind pure, like an unstained cloth (36). (Scholars have even argued that the positive expression oíahimsa, the practice ofdirecting metta (loving-kindness) to others, originally had as much or more to do with the spiritual benefits accrued by the person directing the metta as it did with the well-being of the person receiving it. Only later was ahimsa furtherreinterpreted as positive regard forothers, as seen in the bodhisattva ideal of Mahayana Buddhism. Violence in Buddhist History At numerous times over... (shrink)

The face of cancer treatment is changing and the patient is both living longer and is increasingly able to articulate the problems of painful illness and look for solutions to problems which cannot be solved by technological advances. The cancer patient, like others, is looking towards the self-help movement to help him achieve a better quality of life. The doctor-patient relationship can be improved for both by a franker look at the present situation, the needs of the patient, the family, (...) and those without family, especially in relation to cancer and its cultural connotations. Self-help groups provide the support so often lacking in cancer management (including continuity), and a peer group within which adjustment needed to bring about the change in lifestyle required is achieved. Death need not be a word which is taboo, nor cancer a word which means Death. This is useful for doctor and patient alike. (shrink)

What is so striking about Breaking Bad is how centrally impairment and disability feature in the lives of the characters of this series. It is unusual for a television series to cast characters with visible or invisible impairments. On the rare occasions that television shows do have characters with impairments, these characters serve no purpose other than to contribute to their ‘Otherness.’ Breaking Bad not only centralizes impairment, but impairment drives and sustains the story lines. I use three interrelated themes (...) from Disability Scholarship to analyze Breaking Bad. The first theme, Bodily Control, is that good bodies are controlled bodies and that uncontrolled, messy bodies are frightening, bad bodies. Indeed, the messiness of impairment and disability is so bad, that impaired and disabled individuals are excluded or shut out or excluded from many areas of public life. The second theme, Normalcy, is that the effect of hiding away impairment, of attempting to conceal disability, is that society becomes defined by, and structured around, the concept of normalcy. Normalcy, being normal, attaining and maintaining normalcy, is the preoccupation of most in society. To fail to be normal, or to fall from what is considered to be normal, is a source of tremendous anxiety for most people. These two themes, Bodily Control and Normalcy are conceptually connected: impairment, disease and dying are so feared because they are socially invisible and, therefore unknown and unknowable. They are the undiscussable taboos. The third theme, Bodily Realism, is that having a realistic view of the body, which would at minimum require accepting the fact that human bodies are fragile things, prone to disease and accident and are ultimately destined to die, makes one more at ease in the world, and able to live better lives and live as a better person. Indeed, so the argument goes, our lives would be richer, more rewarding—emotionally and morally—if we cared less about normalcy because of a dread of abnormalcy, but instead learned to accept if not positively value the physical variability of human existence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 32.1 (2002) 49-62 [Access article in PDF] "What I Want Back is What I Was" Consolation's Retrospect Denise Riley "If a horse in its elation should say 'I am beautiful' it would be bearable" [Epictetus 289]. Epictetus, the Stoic philosopher, doesn't go on to say that if a human were to utter the same sentiment, it would be unbearable: only that the horse's owner shouldn't try to take (...) credit himself for the gratuitous beauty of his animal, or try to bask in those equine good looks which, if owned by him, aren't his. The horse, though, in its jubilation can get away with boasting.There's a noticeable awkwardness in any mention of human physical beauty; its embarrassment can include a fear of lapsing into that vanity deplored alike by the Old Testament and by some feminisms. This hesitation isn't simply the wish to steer clear of laying arrogant claims to distinction; for someone can say, not boastfully but in the spirit of mentioning a contingent fact, "I used to be a strong swimmer," without the same sheepishness. But there does seem to be something especially stubborn, unmentionable, about beauty's independence. The fact that, as a lost thing, it was never owned isn't enough to characterize faded beauty's discursive peculiarities. For the same holds true, for instance, of youth. It's extremely difficult to feel yourself to be young at the actual time when you are. Certainly I was never a child.These pages skip all but one small aspect of this matter of who or what can claim beauty. They'll look only at an extremely common sentence of regret for lost physical beauty: at the strange bending of time implicit in saying inwardly, "Yes, I suppose in the past I must have been beautiful, as people used to say, although at the time I never saw it." To meditate on this very ordinary thought is by no means to despise it; and it would be foolish to tut over such retrospective self-shaping. This is how the language of self-characterization often operates backwards.1It would be vacuous to condemn our attempts at a little distraction from the approach of death with sentences like "After all, I suppose I must have been something of a beauty when I was young," or at least, where you know you can't make such a claim, the ever-reliable lament "Compared to what I am now, they should have seen me then!" (Indeed such slipping into the retrospective-fantastic mood may be positively benign in another content: for instance, a compensating refusal to treat anyone now as harshly as I was myself treated then. And there could be far riskier contents to a sentence of retrospective "realization" than mere vanity, such as revelation and enlightenment: "now I see that all along I was a favored son of God, though formerly I was blind to this shining truth.") Meanwhile timor mortis is ever at hand, and will only intensify: [End Page 49]The wrinkles which thy glass will truly showOf mouthèd graves will give thee memory.2Still, there's something of a taboo or an unnameability about the gradual erosion of whatever we feel we once had by way of beauty, a silence which, unsurprisingly, persists irrespective of the enormous new industries of repair and regeneration. This anxiety over the eclipse of your looks is exhaustively catered to (and, in the process, magnified) yet is itself a dread scarcely mentioned. How beauty's ordinary loss is silently spoken is a point at which the consolations of illusion meet and fortify the illusions of consolation. If their encounter produces a blankness liable to sink into depressive shame, arguably this adds to an unvoiced vertigo of the everyday; but what more might thinking aloud about it do? 1 The Sentence of Retrospect For the purposes of illustrating this grammar of concessive retrospect, let's imagine a puppet (for the purposes of argument here, a caricature will have to do) oddly equipped with... (shrink)

The aim of this book, by providing a set of conceptual tools drawn from critical theory, is to open up questions and new problems and new research agendas for the study of environmental politics.

This is the earliest critical discussion in the context of modern/contemporary philosophy in the analytical tradition arguing that somebody with a reasonably stable character and the company of the right people would be able to enjoy eternity.

Global Justice: The Basics is a straightforward and engaging introduction to the theoretical study and practice of global justice. It examines the key political themes and philosophical debates at the heart of the subject, providing a clear outline of the field and exploring: the history of its development the current state of play its ongoing interdisciplinary development. Using case studies from around the world which illustrate the importance of the debates at the heart of global justice, as well as activist (...) campaigns for global justice, the book examines a wide range of theoretical debates from thinkers worldwide making it ideal for those seeking a balanced introduction to global justice. (shrink)