continent. 1.4 (2011): 240—241. “Pirogenetico, Pirogenetico”, 2009 Installation composée de deux tables en métal et trois blocs d’obsidienne et leur moulages. © Coll.Centre Pompidou / Distr. RMN I'm not so sure that art is so ambiguous. I just think it's not linguistic. It's more full and complex than language— we can experience it but not explain it. —Jimmie Durham(1) Jimmie Duraham is an American artist of Cherokee descent. He’s a visual artist and a political activist for the American Indian Movement. (...) Pirogenetico pirogenetico (2009) was recently installed at the Centre Pompidou as part of their “New Presentation of the Contemporary Collections.” His work is replete with wild ideas shaped by a sage, unpretentious impulse and an automatic responsibility to history, particularly his own Cherokee history. Confident from instability, and free from pedagogical language, he strings form and words together that sharply pierce the atmosphere of ideology. Durham doesn’t follow a line and he doesn’t depend on the scaffold of language, but the work makes a remarkable point. Pirogenetico, pirogenetico is a collection of three obsidian rocks, cut and then cast as a double in German silver. Each threesome sits on its own low metal table, forming a diptych. The cut of the original follows the shattering nature of obsidian, which Durham undercuts and monumentalizes in the double. The derivative double and its mannered original: they are nearly too beautiful but still can’t deny the violence. If Durham’s irony, his edge, is obscured by the volume of his forms, it’s reactivated in a video on the adjacent wall where the obsidian cuts through a heart organ. Durham’s syntax is spare. He knows that language isn’t big enough to tell the story, reminding us, as Lacan stated, “I always speak the truth. Not the whole truth... because saying it all is impossible: words fail.”(2) In place of language Durham uses an alternative accuracy that compounds history with the present, a mashup of material things, a collision of aesthetics that shakes down conventional wisdom, replacing it with searing poetry. NOTES (1) Heyokamagazine. “ Jimmie Durham: The Pursuit of Happiness .” (2) Lacan, Jacques. Television: A Challenge to the Psychoanalytic Establishment . Ed. Joan Copjec. Trans. Dennis Hollier, Rosalind Kraus, and Annette Michelson. (New York: Norton, 1990). p. 18. (shrink)

""Serious philosophy is not an attempt to construct a system of beliefs, but the activity of awakening, the conversation passionately pursued. Only if professional philosophy reclaims this paradigm and finds ways to embody it, will it achieve an active place in the thought and life of our culture."" --James Conlon, ""Stanley Cavell and the Predicament of Philosophy."" This book is a collection of serious philosophical essays that aim to awaken readers, teachers, and students to a desire for conversation passionately pursued. (...) The essays in this volume speak about sex, movies, poetry, and politics, in short, about those things contemporary Americans passionately discuss. These are the subjects that were taught for forty-three years in James Conlon's classroom at Mount Mary University, a Catholic urban university for women in Milwaukee, Wisconsin. This volume celebrates Conlon's work while calling to all who continue to teach and learn about philosophy in contemporary times with the message that relevant philosophy deals with life as it is lived in the moment. ""Dr. Conlon made it his life's work to bring to consciousness an often unconscious awareness that accepts the way things are as the measure of what is real, normative, and moral. His commitment to awakening people to the wonder of common experience made a profound contribution to the mission of Mount Mary. The essays in this volume are a testament to the way he engaged students in the process of living a fully human life."" --Joan Penzenstadler, SSND, Mount Mary University ""True to the spirit of Professor Conlon's teaching, this collection illustrates how his approach made philosophy a genuine dialogue, brought diverse viewpoints and perspectives to bear on any problem, and engaged generations of women in the philosophical conversation."" --Kathleen Poorman Dougherty, Alma College ""This collection of always thoughtful and often provocative essays by James Conlon, his colleagues, and students honors Conlon's decades-long career at Mount Mary University dedicated to teaching the practice of philosophy... Both new and experienced teachers of philosophy will find insights and inspiration in this volume!"" --Donna Engelmann, Alverno College ""Just in Time celebrates the work of the philosopher James Conlon. It also honors the pedagogy of inquiry that has had a profound impact on the students he taught for over 40 years. Conlon's essays are paired with ones from his students and colleagues--testaments to the influence that his teaching has had. Readers will be challenged to pursue passionate conversations and inspire others to engage in thoughtful inquiry about the relevant topics of today."" --Eileen Schwalbach, Former president, Mount Mary University Jennifer Hockenbery Dragseth is Professor of Philosophy at Mount Mary University. She is the author of Thinking Woman: A Philosophical Approach to the Quandary of Gender and the editor of The Devil's Whore: Reason and Philosophy in the Lutheran Tradition. James Conlon is Professor of Philosophy, Emeritus at Mount Mary University where he taught for forty-three years. He is the author of numerous philosophical articles. (shrink)

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

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

The purpose of this study was to determine the applicability of Buddhist practices in today’s workplaces. The findings were supported by interviews with Buddhist masters and Buddhist business practitioners, as well as literature review, through phenomenological analysis. As a means of presenting the main reasons why Buddhist practices should be considered in contemporary workplaces, a SWOT analysis is presented. In this analysis, a number of strengths for using Buddhist practices in workplaces are listed such as pro-scientific, greater personal responsibility, and (...) healthy detachment, while potential weaknesses such as non-harming, equanimity, and no competition are also reviewed. Both the strengths and the weaknesses could be listed in reverse if applied to a different extent. Among the opportunities were issues such as re-educating the world of business, enhancing personal ownership and a healthier society, while the threats comprised issues such as creating different imbalances, disinterest, and stationary development. (shrink)

Community ecology entered the 1970s with the belief that niche theory would supply a general theory of community structure. The lack of wide-spread empirical support for niche theory led to a focus on models specific to classes of communities such as lakes, intertidal communities, and forests. Today, the needs of conservation biology for metrics of “ecological health” that can be applied across types of communities prompts a renewed interest in the possibility of general theory for community ecology. Disputes about the (...) existence of general patterns in community structure trace at least to the 1920s and continue today almost unchanged in concept, although now expressed through mathematical modeling. Yet, a new framework emerged in the 1980s from findings that community composition and structure depend as much on the processes that bring species to the boundaries of a community as by processes internal to a community, such as species interactions and co-evolution. This perspective, termed “supply-side ecology”, argued that community ecology was to be viewed as an “organic earth science” more than as a biological science. The absence of a general theory of the earth would then imply a corresponding absence of any general theory for the communities on the earth, and imply that the logical structure of theoretical community ecology would consist of an atlas of models special to place and geologic time. Nonetheless, a general theory of community ecology is possible similar in form to the general theory for evolution if the processes that bring species to the boundary of a community are analogized to mutation, and the processes that act on the species that arrive at a community are analogized to selection. All communities then share some version of this common narrative, permitting general theorems to be developed pertaining to all ecological communities. Still, the desirability of a general theory of community ecology is debatable because the existence of a general theory suppresses diversity of thought even as it allows generalizations to be derived. The pros and cons of a general theory need further discussion. (shrink)

Tronto explores the “care crisis” that now pervades advanced industrial societies, in which women are doing more paid work and, consequently, less of the care work of civil society. Tronto urges advanced industrial societies to rethink who is responsible for care and recognize the role that government should play in ensuring that care is provided for those who need it. Unfortunately, citizenship has traditionally been defined in ways that make no provision for responsibilities to care for others. Tronto observes that (...) “privatizing” care by relegating it to the marketplace does not provide a solution to the care crisis, since paid care work is subject to exploitation, partly because it is often done by illegal immigrants from Third World countries. Despite expecting privatization to be the likely solution to the problem, Tronto nevertheless recommends that care work be regarded as a governmental responsibility in order to make it more valued publicly. (shrink)

This article briefly outlines some of the key problems with the way in which the moral realm has traditionally been understood and analysed. I propose two alternative views of what is morally interesting and applicable to nursing practice and I indicate that instability has its upsides. I begin with a moral tale – a 'Good Samaritan' story – which raises fairly usual questions about the nature of morality but also the more philosophically fundamental question about the relationship between subjectivity and (...) moral agency. I then consider this relationship from the perspectives of two twentieth century philosophers: Emmanuel Levinas and Michel Foucault. Levinas' basic point is that the experience of ethical subjectivity is made possible through others: the demand to respond to the existence of others is the basic social structure that precedes individual freedom. If Levinas posits intersubjectivity as a fundamental or primitive feature of the moral realm, Foucault poses an even more basic question: how have moral subjects and relations of obligation been constituted? The aim of ethical inquiry, for Foucault, is to describe the network of discourses, institutions, relations, and practices through which certain kinds of subjects are constituted and constitute themselves, e.g. as a kind of person who can act morally. Finally, I consider some recent research in philosophy of nursing which illustrates how Levinasian and/or Foucauldian perspectives can deepen understanding of nurses' moral practices, specifically, the work of Norwegian public health nurses, Canadian pediatric nurses, and Irish midwives. I suggest that in spite of the instability of morality in general and the particular ethical challenges that face nurses, there are grounds for hope and possible strategies for living in unstable times. (shrink)

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

Does Frege have a metatheory for his logic? There is an obvious and uncontroversial sense in which he does. Frege introduces and discusses his new logic in natural language; he argues, in response to criticisms of Begriffsschrift, that his logic is superior to Boole's by discussing formal features of both systems. In so far as the enterprise of using natural language to introduce, discuss, and argue about features of a formal system is metatheoretic, there can be no doubt: Frege has (...) a metatheory. There is also an obvious and uncontroversial sense in which Frege does not have a metatheory for his logic. The model theoretic semantics with which we are familiar today are a post-Fregean development. The question I address in this paper is, does Frege have a metatheory in the following sense: do his justifications of his basic laws and rules of inference employ, or even require, ineliminable use of a truth predicate and metalinguistic variables? My answer is ‘no’ on both counts. I argue that Frege neither uses, nor has any need to use, a truth predicate or metalinguistic variables in his justifications of his basic laws and rules of inference. Quine's famous explanation of the need for semantic ascent simply does not apply to Frege's logic. The purpose of the discussions that are typically understood as constituting Frege's metatheory is, rather, elucidatory. And once we see what the aim of these particular elucidations is, we can explain Frege's otherwise puzzling eschewal of the truth predicate in his discussions of the justification of the laws and rules of inference. (shrink)

Aim: The aim of this review is to examine the ways in which the concept of moral distress has been delineated and deployed in the argument-based nursing ethics literature. It adds to what we already know about moral distress from reviews of the qualitative and quantitative research. Data sources: CINAHL, PubMed, Web of Knowledge, EMBASE, Academic Search Complete, PsycInfo, Philosophers’ Index and Socindex. Review methods: A total of 20 argument-based articles published between January 1984 and December 2013 were analysed. Results: (...) We found that like the empirical literature, most authors in this review draw on Jameton’s original definition and describe moral distress in psychological–emotional–physiological terms. They also agree that moral distress is linked to the presence of some kind of constraint on nurses’ moral agency, and that it is best understood as a two-staged process that can intensify over time. There is also consensus that moral distress has an important normative meaning, although different views concerning the normative meaning of moral distress are expressed. Finally, the authors generally agree that moral distress arises from a number of different sources and that it (mostly) affects negatively on nurses’ personal and professional lives and, ultimately, harms patients. However, despite this consensus, many authors take issue with the way in which moral distress is conceptualized and operationalized. Moreover, while some worry that identifying nurses as a group of health professionals whose voices are ignored or marginalized might disempower nurses and encourage them to avoid their moral responsibilities, others take situations involving moral distress as indicative of more fundamental, structural inequities at the heart of contemporary healthcare provision. Conclusion: We conclude that research on moral distress in nursing is timely and important because it highlights the specifically moral labour of nurses. However, we suggest that significant concerns about the conceptual fuzziness and operationalization of moral distress also flag the need to proceed with caution. (shrink)

In April 2004 the Irish Government commissioned Judge Maureen Harding Clark to compile a report to ascertain the rate of caesarean hysterectomies at Our Lady of Lourdes Hospital in Drogheda, Republic of Ireland. The report came about as a result of complaints by midwives into questionable practices that were mainly (but not solely) attributed to one particular obstetrician. In this article we examine the findings of this Report through a feminist lens in order to explore what a feminist reading of (...) the Report and the events that led to the inquiry will bring to light. We consider how sex and gender feature in the Lourdes case, draw attention to the deeply gendered asymmetries of power and privilege that existed between the men and women at the centre of this inquiry, and explore the impact such asymmetries had on this particular situation. (shrink)

Deux constats sont à l'origine de ce livre. Le débat dans le monde académique autour du lien entre religions, sciences et espace public semble s'être fixé sur l'idée de 'post-sécularité'. Or, sous couvert de rendre les sociétés plus hospitalières aux religions, cette idée profite essentiellement à des courants politico-religieux absolutistes et fondamentalistes. Et la solide expertise francophone qui s'est développée sur le philosophe américain John Dewey (1859-1952) néglige trop souvent ses nombreux écrits consacrés à la critique des religions. Joan (...) Stavo-Debauge retrace donc la généalogie de l'idée de 'post-sécularité' et détaille les méfaits qu'elle peut masquer, comme les mobilisations contre l'avortement, les droits des personnes LGBT, l'expertise scientifique ou encore les politiques écologiques. Il s'appuie ensuite sur les écrits de John Dewey pour remettre au jour la pleine puissance de sa critique des religions fondée sur une pensée naturaliste et pragmatiste et la présenter comme un antidote efficace aux fondamentalismes religieux. (shrink)

In describing and explaining the sexes, medicine and science participated in the delineation of what was "feminine" and what was "masculine" in the Middle Ages. Hildegard of Bingen and Albertus Magnus, among others, writing about gynecology, the human constitution, fetal development, or the naturalistic dimensions of divine Creation, became increasingly interested in issues surrounding reproduction and sexuality. Did women as well as men produce procreative seed? How did the physiology of the sexes influence their healthy states and their susceptibility to (...) disease? Who derived more pleasure from sexual intercourse, men or women? The answers to such questions created a network of flexible concepts which did not endorse a single model of male-female relations, but did affect views on the health consequences of sexual abstinence for women and men and on the allocation of responsibility for infertility - problems with much social and religious significance in the Middle Ages. Sometimes at odds with, and sometimes in accord with other forces in medieval society, medicine and natural philosophy helped to construct a set of notions that divided significant portions of the world - from the behavior of animals to the operations of astrological signs - into "masculine" and "feminine." Even cases that seemed to exist outside the definitions of this duality, for example, hermaphrodite features or homosexual behavior, were brought under control by the application of gendered labels, such as "masculine women.". (shrink)

From Kosovo to Québec, Ireland to East Timor, nationalism has been a recurrent topic of intense debate. It has been condemned as a source of hatred and war, yet embraced for stimulating community feeling and collective freedom. Joan Cocks explores the power, danger, and allure of nationalism by examining its place in the thought of eight politically engaged intellectuals of the nineteenth and twentieth centuries: the antagonist of capital, Karl Marx; the critics of imperialism Rosa Luxemburg, Hannah Arendt, and (...) Frantz Fanon; the liberal pluralist Isaiah Berlin; the neonationalist Tom Nairn, and the post-colonial writers, V. S. Naipaul and Edward Said. Cocks not only sheds new light on the complexities of nationalism but also reveals the tensions that have inspired and troubled intellectuals who have sought to lead lives between detached criticism and political passion.In lively, conversational prose, Cocks assesses their treatment of questions such as the mythology of national identity, the right to national self-determination, and the morality of nationalist violence. While ultimately critical of nationalism, she engages sympathetically even with its defenders. By illuminating the links that distinguished minds have drawn between thought and action on nationalism in politics, this stimulating work provides a rich foundation from which we ourselves might think or act more wisely when confronting a phenomenon that, in fundamental and perplexing ways, has shaped our world. (shrink)

Why did Frege look for the foundations of arithmetic in logic? Robin Jeshion has argued against several proposed answers, mine among them, and offered one of her own. In response, I argue that (i) Jeshion's own interpretation does not work: it is unsupported by the text and fails to answer the question; (ii) while it is not my view that Frege is motivated solely by philosophical concerns, his motivation cannot be divorced from his belief that foundations for science must show (...) whether its truths are analytic or synthetic, a priori or a posteriori; (iii) it must (for Frege) be evident from the content of a primitive truth to which of these categories the truth belongs. (shrink)

In the author's Relative lawlessness in intuitionistic analysis [this JOURNAL. vol. 52 (1987). pp. 68-88] and An intuitionistic theory of lawlike, choice and lawless sequences [Logic Colloquium '90. Springer-Verlag. Berlin. 1993. pp. 191-209] a notion of lawless ness relative to a countable information base was developed for classical and intuitionistic analysis. Here we simplify the predictability property characterizing relatively lawless sequences and derive it from the new axiom of closed data (classically equivalent to open data) together with a natural principle (...) of invariance under finite translation. We characterize relative lawlessness in terms of a notion of forcing. Finally, we study relative lawlessness on an arbitrary fan and show that the collection of lawless binary sequences (which is comeager in the sense of Baire) has probability measure zero. The reasoning is predominantly constructive. (shrink)

This work presents a requirement analysis for collaborative dialogues among medical experts and an inquiry dialogue game based on this analysis for incorporating explainability into multiagent system design. The game allows experts with different knowledge bases to collaboratively make recommendations while generating rich traces of the reasoning process through combining explanation-based illocutionary forces in an inquiry dialogue. The dialogue game was implemented as a prototype web-application and evaluated against the specification through a formative user study. The user study confirms that (...) the dialogue game meets the needs for collaboration among medical experts. It also provides insights on the real-life value of dialogue-based communication tools for the medical community. (shrink)

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

Since Mezirow, there has been considerable research into transformative learning. However the research methods generally used have been of the same kind that are drawn on to inquire into any area of interest. A key aim of this journal is to explore the transformative possibilities of research, and in the process to investigate creative methods which are expanding and transforming our understanding of what constitutes valid research in a postmodern world. In this context, where the assumptions and worldview of classical (...) Newtonian science are being fundamentally challenged, the idea of the ‘transpersonal’ is receiving increasing attention, particularly within the field of psychology. This paper explains the origins of interest in the transpersonal, and provides an introduction to some emerging research methods which accept the idea of the transpersonal as valid. It concludes with the recognition that for many it will require a transformative shift in thinking and beliefs to accept a transpersonal worldview. However recent findings suggest that engaging in research which is accepting of this worldview can be truly transformative in its outcomes for the researcher, the research participants, and for the reader. (shrink)

Kripke recently suggested viewing the intuitionistic continuum as an expansion in time of a definite classical continuum. We prove the classical consistency of a three-sorted intuitionistic formal system IC, simultaneously extending Kleene’s intuitionistic analysis I and a negative copy C° of the classically correct part of I, with an “end of time” axiom ET asserting that no choice sequence can be guaranteed not to be pointwise equal to a definite sequence. “Not every sequence is pointwise equal to a definite sequence” (...) is independent of IC. The proofs are by Crealizability interpretations based on classical ω-models ${\cal M}$ = $\left$ of C°. (shrink)

I argued that Frege does not have a metatheory in the following sense: the justifications he offers for his basic laws and rules of inference neither employ nor require a truth-predicate or metalinguistic variables. In ‘Does Frege Use a Truth-predicate in his "Justification" of the Laws of Logic?’, Dirk Greimann disputes this. As Greimann interprets Frege, (i) Frege's remarks commit him to giving a metatheoretic justification of the basic laws and rules of his logic, and (ii) Frege actually gives such (...) a justification in the early sections of Grundgesetze—although the truth-predicate that Frege employs is a non-standard one: it is neither a predicate that holds of all and only true sentences nor a predicate that holds of all and only true thoughts. I argue that Greimann's interpretation is not, in the end, true to the text, and that his non-standard view of what is required of a Tarskian truth-predicate is ultimately not viable. (shrink)

In The Myth of Matriarchal Prehistory, Cynthia Eller describes a dangerous, ‘ennobling lie’ that must be overturned in order for women to have a viable future. The so-called matriarchal myth which she attempts to debunk is the idea that human societies have not always supported male domination in social structure and religious practice and that societies have existed in which women and the entire natural world were honored. This article examines Eller’s stated assumption that such ideas are utopian inventions and (...) that male dominance is the most reasonable, scientifically sound approach to an interpretation of prehistory. (shrink)

Este artículo describe el desarrollo de un proyecto colaborativo compartido entre escuela y universidad. En este caso, entre la Universidad de Vic y la escuela Pompeu Fabra de Salt. En este proyecto los protagonistas de la experiencia son los alumnos del tercer ciclo de primaria de la escuela Pompeu Fabra de Salt (Gironès) y el grupo de trece alumnos de la Universidad de Vic matriculados en la asignatura Didáctica de las Ciencias Sociales, del doble grado en Maestro de Educación Infantil (...) y Primaria en mención inglesa. Esta colaboración se ha vertebrado en torno a la participación del grupo de primaria en el proyecto interdisciplinar "Reporteros de la historia”. (shrink)