Since argument frames precede most other arguing processes, argument editing among them, one’s frames may well predict one’s preferred editorial standards. This experiment assesses people’s arguing frames, gives them arguments to edit, and tests whether the frames actually do predict editorial preferences. Modest relationships between argument frames and argument editing appear. Other connections among frames, editing, and additional individual differences variables are more substantial. Particularly notable are the informative influences of psychological reactance. A new theoretical contribution is offered, connecting argument (...) frame research to Erving Goffman’s frame analysis. (shrink)

Beyond the defiance of the young iconoclast—Wilde himself, of course—and the rather perfunctory curve of Dorian Gray to that gothic final sight , there is another, possibly less strident, but more central theme. That one is damned for selling one's soul to the devil is a commonplace in legends; what arrests our attention more, perhaps, is Wilde's claim or boast or worry or warning that one might indeed be poisoned by a book . . . and that the (...) artist, even the presumably "good" Basil Hallward, is the diabolical agent. Wilde's novel must be seen as a highly serious meditation upon the moral role of the artist—an interior challenge, in fact, to the insouciance of the famous pronouncements that would assure us that there is no such thing as a moral or an immoral book or that all art is "quite useless." Wilde's genius was disfigured by his talent: he always sounds much more flippant, far more superficial, than he really is. So one always say about Dorian Gray, with an air of surprise, that the novel is exceptionally good after all—and anyone who has read it recently replies, with the same air of faint incredulity, yes, it is exceptionally good—in fact, one of the strongest and most haunting of English novels. Yet its reputation remains questionable. Gerald Weales virtually dismisses it as "terribly fin de siècle " in a rather flippant introduction to the novel, and it would be difficult to find a critic who would choose to discuss it in terms other than the familiar ones of decadence, art for art's sake, art as "the telling of beautiful untrue things." Joyce Carol Oates has written, among others, Bellefleur, Childhood, a collection of short stories, Nightside, and Son of the Morning. Her contributions to Critical Inquiry, include "Jocoserious Joyce" and "Lawrence's Gotterdammerung". (shrink)

Feminist educators and theorists are stretching the boundaries of what it means to do religion and science. They are also expanding the theoretical and practical frameworks through which we might present curricula in thosefields. In this paper, I reflect on the implications of feminist pedagogies for the interdisciplinary field of religion and science. I begin with a brief discussion of feminist approaches to education and the nature of the feminist classroom as a setting for action. Next, I present some theoretical (...) and practical issues to consider when developing a feminist praxis and an antisexist curriculum. This leads into a discussion of the role of language and critical reflection in the religion and science classroom, the risks associated with reflective discourse, and considerations in the use of ‘feminist’ teaching tools such as small group work, journals, and portfolio assessment. Iconclude with a reflection on how feminist pedagogy promotes an epistemology that speaks to the hearts and minds of participants in the dialogue of religion and science. (shrink)

Poetry is a process. While people typically refer to poems as textual objects, our experience of poetry is inherently embodied and enacted, meaning that we experience poems as events that we contextualize as gestalt representations. We experience metaphors, too, as processes, which arise from experiential gestalts, that extend gestalt structures and lay the conceptual foundation for our experience of the world. This article argues that, like metaphors, poetic gestalts can be mapped onto other experiences to help people navigate their worlds. (...) While this kind of poetic thought has largely been considered by scholars to have existed only since the emergence of the modern human mind sometime in the last 60,000 years, the author suggests that poetic thought likely arose prior to modern cognition, and may have in fact given rise to it. A crucial aspect of the embodied and enactive approach to poetry outlined in the article is that people’s experience of poetry is fundamentally contextual and emotional. Furthermore, because emotions are a primary source of meaning, our emotional responses to poetry make it a useful tool for extending our own conceptual apparatuses, enhancing emotional intelligence, and for generating shared values. (shrink)

Almost all of us would agree that the experience of art is deeply rewarding. Why this is the case remains a puzzle; nor does it explain why many of us find works of art much more important than other sources of pleasure. Art and Knowledge argues that the experience of art is so rewarding because it can be an important source of knowledge about ourselves and our relation to each other and to the world. The view that art is a (...) source of knowledge can be traced as far back as Aristotle and Horace. Artists as various as Tasso, Sidney, Henry James and Mendelssohn have believed that art contributes to knowledge. As attractive as this view may be, it has never been satisfactorily defended, either by artists or philosophers. Art and Knowledge reflects on the essence of art and argues that it ought to provide insight as well as pleasure. It argues that all the arts, including music, are importantly representational. This kind of representation is fundamentally different from that found in the sciences, but it can provide insights as important and profound as available from the sciences. Once we recognise that works of art can contribute to knowledge we can avoid thorough relativism about aesthetic value and we can be in a position to evaluate the avant-garde art of the past 100 years. Art and Knowledge is an exceptionally clear and interesting, as well as controversial, exploration of what art is and why it is valuable. It will be of interest to all philosophers of art, artists and art critics. (shrink)

THE PAPER DEFINES AND DEFENDS A PRINCIPLE OF COLLECTIVE SELF-DETERMINATION AS ONE OF THE PRINCIPLES OF THE ORDERING OF A JUST SOCIETY. THAT PRINCIPLE SPECIFIES THAT INDIVIDUALS PARTICIPATE EQUALLY IN THE MAKING OF DECISIONS WHICH WILL GOVERN THEIR ACTIONS WITHIN INSTITUTIONS OF SPECIAL COOPERATION. THE PAPER ADOPTS THE STRATEGY OF ARGUING TO PRINCIPLES OF JUSTICE BY ASKING WHAT PRINCIPLES WOULD BE CHOSEN IN RAWLS' ORIGINAL POSITION. IT ARGUES THAT, CONTRARY TO THE THRUST IMPLICIT IN RAWLS AND OTHER LIBERAL THINKERS, PERSONS (...) IN THE ORIGINAL POSITION WOULD HAVE NO BASIS FOR DISTINGUISHING BETWEEN POLITICAL AND NON-POLITICAL INSTITUTIONS OF SOCIAL COOPERATION, AND THUS WOULD CHOOSE THE PRINCIPLE OF SELF-DETERMINATION DIRECTLY AS APPLYING TO ALL INSTITUTIONS AND ACTIVITIES OF SOCIAL COOPERATION. (shrink)

Moral judgment depends critically on theory of mind, reasoning about mental states such as beliefs and intentions. People assign blame for failed attempts to harm and offer forgiveness in the case of accidents. Here we use fMRI to investigate the role of ToM in moral judgment of harmful vs. helpful actions. Is ToM deployed differently for judgments of blame vs. praise? Participants evaluated agents who produced a harmful, helpful, or neutral outcome, based on a harmful, helpful, or neutral intention; participants (...) made blame and praise judgments. In the right temporo-parietal junction, and, to a lesser extent, the left TPJ and medial prefrontal cortex, the neural response reflected an interaction between belief and outcome factors, for both blame and praise judgments: The response in these regions was highest when participants delivered a negative moral judgment, i.e., assigned blame or withheld praise, based solely on the agent's intent. These results show enhanced attention to mental states for negative moral verdicts based exclusively on mental state information. (shrink)

Fabi and Goldberg investigate how funding availability influences the landscape of bioethics as a field, and perpetuates forms of social and epistemic injustice while limitin...

In this paper I propose to give close attention to two recent discussions of the relation between theism and morality. It will be helpful first to sketch some of the considerations that have emerged from the many discussions of the relation between theism and morality and which form the background to the two recent contributions I shall discuss.

This work builds on the Volterra series formalism presented in Dreisigmeyer and Young to model nonconservative systems. Here we treat Lagrangians and actions as ‘time dependent’ Volterra series. We present a new family of kernels to be used in these Volterra series that allow us to derive a single retarded equation of motion using a variational principle.

On May 18, 2001, the Korean Bioethics Advisory Commission, sponsored by the Ministry of Science and Technology, published a set of recommendations for biotechnological research and application, including scientific experiments with human embryos. Four days later, the KBAC held a public hearing to finalize its recommendations. Since then, public reaction and debate over the ethical aspects of human embryo research have actively surfaced. Most leaders of religious organizations, especially Catholic churches, objected to any type of embryo research. On the other (...) hand, some leaders of the scientific community supported freer scientific research on human embryos. (shrink)

Beyond Rawls engages one of the most provocative and influential developments in contemporary political philosophy. Focusing on the idea- as opposed to a single conception- of purely 'political' liberalism, Shaun Young examines the work of a number of prominent political liberals, and concludes that as it presently manifests itself, the concept of political liberalism cannot achieve its stated goals.

From 1982 through 2016, Korean media outlets have reported over 120 instances of vandalism, arson and harassment targeting Buddhist temples and facilities in South Korea. An extension of on-going tensions between South Korea’s Buddhist and Evangelical Protestant communities, this one-sided wave of violence and harassment has caused the destruction of numerous temple buildings and priceless historical artifacts, millions of USD in damages, and one death. This article surveys these incidents of anti-Buddhist vandalism, arson, and harassment, analyzing their general characteristics and (...) summarizing major instances of each, before examining the frequency of these incidents within the wider chronology of recent Evangelical-Buddhist tensions. It then examines the responses from South Korea’s Buddhist and Evangelical communities and various government agencies, as well as the effects of these responses, before investigating the relationship between these incidents and the mainstream Evangelical doctrines of religious exclusivism, dominionism and spiritual warfare. The article closes with a discussion of the need for further research into these incidents and the wider Evangelical-Buddhist tensions surveyed herein as well as the relevance of such research to inter-religious conflicts outside Korea. (shrink)

My goal in this article is to explore the extent to which the conception of rule-following which emerges from Wittgenstein’s later works can also yield important insights concerning the nature of technological practices. In particular, this article aims to examine how two interrelated themes of Wittgenstein’s Philosophical Investigations can be applied in the philosophical analysis of technology. Our first theme concerns linguistic practice; broadly construed, it is the claim that the use of language cannot be understood as determined by a (...) system of context independent rules. The second, interrelated theme emerges as a consequence of the first; that the meaning of language is rendered indeterminate when analyzed in isolation from contexts of practice. Following the common tendency in the sociology of technology to draw analogies between language and technology, I aim to show how the arguments that Wittgenstein makes for these two claims concerning language can also help us to understand the relation between technical artifacts and technological practices. For, similar to Wittgenstein’s account of rules, it will be shown how artifacts cannot be adequately understood in isolation from a wider background of skillful practice and interpretation. To illustrate this idea, we will examine the case of the Geiger counter, with a view towards illustrating how important aspects of the function of the device are rendered indeterminate when assessed on the basis of physical design alone. (shrink)

In this collection a panel of distinguished political philosophers critically explore the intellectual legacy of Rawls.

We are conscious beings who think, understand, feel and perceive. We are also material beings composed out of ordinary material stuff. Determining the precise connections between the psychological and the material remains problematic. The harmonia theory is one of the first attempts to frame this as a problem about composite objects. The theory itself is simple: the soul is the harmonia of the material parts of the body. But what a harmonia is and what the theory amounts to are matters (...) of much dispute. I argue that a harmonia is best understood as the structure of the body's material parts. Plato introduces the theory in the Phaedo, and Aristotle mentions it in On the Soul. In both instances it is roundly criticized. Given that Plato thinks the soul is independent of the body, it is not surprising that he rejects the harmonia theory. However, he has been described as "extraordinarily obtuse" for arguing against the view, since doing so seems to undermine his arguments for a tripartite soul. Aristotle's rejection has been thought equally perplexing, since his own positive view looks very much like a version of the harmonia theory. Looking closely at the harmonia theory helps clarify persistent misunderstandings of the view and the reasons Plato and Aristotle reject it. This avenue offers insight into Plato's and Aristotle's positive theories about the soul and its relation to matter. In addition, their rejections of the theory shed light on how they understand the relation between parts and wholes. The problems lying behind the ancient debate about the harmonia theory are not just historically significant, but also resonate with contemporary discussions about material composition and the metaphysics of mind. Plato articulates a version of the harmonia theory which is perhaps the first expression of a supervenience thesis about the mental, but the precise sort of supervenience at issue hasn't been well understood. But most importantly, whether wholes and souls are causally relevant and whether conscious beings are mereologically simple are issues at the heart of the debate, both ancient and modern. (shrink)

Our discussion should open with a story in the “Weizi” 微子 chapter of the Analects. Confucius, while traveling on a long journey, sent his disciple Zi Lu 子路 to ask two hermits, Chang Zu 長沮 and Jie Ni 桀溺, where a ferry could be found. Sneering at Confucius for canvassing around the country, they retorted: “Turbulent waves are sweeping away everything under Heaven. With whom, then, are you to change the world?” Zi Lu reported their words back to Confucius, who (...) said, “Since I cannot live among the birds and animals, if I do not live among these men, with whom should I live? If there were a Way under Heaven, I would not need to strive to change the world.”1What world was it that Confucius dreamed of? What vision did.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and the Educated AudienceJames O. Young (bio)1. IntroductionWhen writing about art, aestheticians tend to focus on the work of art and on the artist who produces it. When they refer to audiences, they typically speak only of the effect that the artwork has on its audience. Aestheticians pay little, if any, attention to the important active role that an audience plays in the workings of a healthy (...) art world. My goal in this essay is to do something to end the neglect of the audience. I will focus on the role of the informed or, as I will call it, educated audience. I begin by subjecting the concept of an audience to some old-fashioned conceptual analysis. Once we are clearer about what an audience is and, in particular, what an educated audience is, we can begin to determine what it can do. In my view, an educated audience can play an important role in encouraging the production of artworks with high aesthetic value. Indeed, highly valuable artworks are unlikely to be produced without a broad educated audience to whom artists are responsive. Consequently, the aesthetic education of audiences is crucial to the health of an art world.2. What Is an Audience?In its original sense, the noun "audience" refers to the people within earshot of some speaker: one held forth to an audience. In connection with the arts, "audience" was first used in something very like this original sense. It referred to those who heard actors perform plays or those who heard the recitation of poetry. Soon the concept of an audience also applied to those who heard the performance of musical works. By the mid-nineteenth century, the concept of an audience had been broadened. It came to apply to the readers of a novel or other works of literature. More recently, the concept of an audience has been applied to those who view paintings, sculptures, and films. [End Page 29] Now an audience consists of people who experience artworks of any sort. Having an experience of an artwork is a necessary condition of being part of an audience. This condition is, however, far from being sufficient.Some people experience works of art but are not part of an audience. Consider, for example, ushers in a concert hall or theater and guards in art museums. An usher hears the play or the concerto but may not regard it as an aesthetic object. Similarly, a guard sees the paintings (and so in this sense experiences them) but does not, perhaps, attend to them as aesthetic objects. Or consider a person who arranges to meet a friend in a gallery. He almost certainly sees the paintings, but he will not count as part of an audience if he is completely intent on looking for his friend. It seems, then, that members of an audience do not simply experience artworks. They must experience artworks in a certain way.Audience members experience an artwork in such a way that they are able to benefit from its aesthetic value. When I speak of "aesthetic value," I mean the value an artwork possesses in virtue of its sensuous properties. I will not here take a stand on the nature of experience of aesthetic value. Some writers have suggested that the contemplation of art involves a distinctive sort of experience. Perhaps it does. (It has been suggested, for example, that audience members must have a measure of "psychical distance" from some object if they are to have an aesthetic experience of it.) I simply hold that audience members experience an artwork in whatever way makes it possible for them to benefit from its aesthetic value. If aesthetic value causes pleasure (or "aesthetic emotion," understanding, or anything else) then audience members can have pleasure caused in them by an artwork's aesthetic value. The capacity to benefit from the aesthetic value of an artwork is a necessary condition of being part of the work's audience.Notice that not just anyone can be part of the audience for a given work of art. Audience members must possess certain capacities. In the most basic sense of the word, an audience is composed... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Narrative Symposium:Living Organ DonationLaura Altobelli, Sherri Bauman, Janice Flynn, Andy Heath, Joseph Jacobs, Tim Joos, Amy K. Lewensten, Donna L. Luebke, Sarah A. McDaniel, Donald Olenick, Laurie E Post, Vicky Young, Blake Adams, Anonymous One, Michael Sauls, Christine Wright, Shannon D. Wyatt, and Cara Yesawich• An Altruistic Living Donor’s Story• Surgery for the Soul• Kidney Donation Story• The Essence of Giving—A Transplant Story• Love—the Risk Worth Taking• My (...) Donation Journey• A Life For A Life: My Gift To My Dad• Lessons Learned: The Realities of Living Organ Donation• Sarah’s List Exchange Experience• Accelerated Living Donation• Liver Donor Nightmare• Adrift After Donation• Getting Our Child Off Dialysis• A Living Donor’s Journey• The Spare Kidney• Living Donors are People Too• The Gift of Life—Walking by Faith• Journey of an Altruistic, Non–designated Living DonorCopyright © 2012 The Johns Hopkins University Press... (shrink)

Most of us struggle with distraction every day: the familiar feeling that our attention is not quite where it should be. We feel it at work and at home and it can be frustrating and uncomfortable. But what is distraction? In his lucid, timely book, Damon Young shows that distraction is more than too many stimuli, or too little attention. It is actually a matter of value - to be distracted is to be torn away from what is worthwhile (...) in life. And for Young, what is most worthwhile is freedom: not simply rights or legal liberties, but the capacity to patiently, creatively craft one's own life. Exploring the lives of such luminaries as Henri Matisse, Karl Marx, Seneca and Henry James, Young exposes distraction in work, technology, art, politics and intimacy. With warmth and wit, he reveals what is most valuable, and what is best avoided, in the pursuit of a life of one's own. (shrink)

In recent years the provision of music for young children in its many forms has grown considerably. At the same time, young children’s musical activity remains low on the scholarly hierarchy. This neglect of early childhood music in the various music disciplines relates to wider theoretical and cultural assumptions that lead to a lack of interest in young children and their music. More specifically it relates to the pervasive and persistent belief that because young children have (...) not yet acquired conventional musical skills, their musical activity is not worthy of serious academic attention. (shrink)

Mind and the Body Politic is a collection of Elisabeth Young-Bruehl's essays and lectures on political theory, psychoanalysis, feminism, and the theory of biography.

For centuries philosophers have wrestled with the dichotomy between individual freedom on the one hand and collective solidarity on the other. Yet today there is a growing realization that this template is fundamentally flawed. In this book, Mark Young embraces and advocates a more holistic concept of freedom; one which is not merely defined negatively but which positively provides the preconditions for individuals to actively exercise their autonomy and to flourish as human beings in the process. Young posits (...) the idea of 'freedom in community' and traces its origin back to Aristotle. Taking as his premise that humans are deeply social beings who live their lives intricately interwoven with each other, he examines what type of political community is relevant for us in this post-Classical, post-Enlightenment and, indeed, post-Existential world. Identifying the failure of traditional 'statist' models of politics, Young instead argues for a civil society: a globally interlinked and free set of liberal communities as the best context for nourishing human flourishing. In this way we can achieve a proper setting for Eudaimonia in a modern sense. (shrink)

Near the homes of photographers John Willis and Tom Young is a paper mill that sits in the otherwise pristine and picturesque climes of western Massachusetts. For Willis and Young, this site is one of both aesthetic and philosophical contradictions: despite its verdant locale, the mill—with its ominous smoke stacks and countless bales of discarded paper—brings to mind the dreariness of industrialization and the impermanence of life itself. But the factory is actually one where such litter is reborn (...) as reusable paper. Willis and Young’s stunning black-and-white images, collected in this unforgettable volume, transform this mill and the innumerable mounds of recyclable waste it processes daily into an indelible and evocative landscape. Recycled Realities is not a jeremiad foretelling the consequences of excessive waste, rampant pollution, or unbridled consumption, but rather a profound meditation on the hidden meanings and connections that linger beneath the debris and detritus of everyday life. These astonishing and often surreal photos of discarded paper from the printed world trace the processes of emergence, revelation, and redemption that make the cycle of life possible. In their photographs, Willis and Young take that which we have discarded and create new forms of being in and of themselves: vibrant and ultimately life-affirming portraits of who we are as people and the realities that we constantly build—and rebuild—all around us. (shrink)