Backround Education in ethics and professionalism should reflect the realities medical students encounter in the hospital and clinic. Method We performed content analyses on Case Observation and Assessments (COAs) written by third-year medical students about ethical and professional issues encountered during their internal medicine and paediatrics clinical clerkships. Results A cohort of 141 third-year medical students wrote 272 COAs. Content analyses identified 35 subcategories of ethical and professional issues within 7 major domains: decisions regarding treatment (31.4%), communication (21.4%), professional duties (...) (18.4%), justice (9.8%), student-specific issues (5.4%), quality of care (3.8%), and miscellaneous (9.8%). Conclusions Students encountered a wide variety of ethical and professional issues that can be used to guide pre-clinical and clinical education. Comparison of our findings with results from similar studies suggests that the wording of an assignment (specifying “ethical” issues, “professional” issues, or both) may influence the kinds of issues students identify in their experience-based clinical narratives. (shrink)

Call the norms of inquiry zetetic norms. How are zetetic norms related to epistemic norms? At first glance, they seem quite closely connected. Aren't epistemic norms norms that bind inquirers qua inquirers? And isn't epistemology the place to look for a normative theory of inquiry? While much of this thought seems right, this paper argues that the relationship between the epistemic and the zetetic is not as harmonious as one might have thought and liked. In particular, this paper argues that (...) some familiar contemporary epistemic norms are in tension with, and even in conflict with, central zetetic norms. (shrink)

In this paper I explore the contours of a picture of normative epistemology that speaks centrally to the question of how to inquire rather than just the question of what to believe. What if normative epistemology were expanded to encompass inquiry in full? I argue that while a 'zetetic epistemology' builds on traditional normative epistemology in many appealing ways, it also faces some challenges.

Although dualism has the advantage of being intuitively plausible, it is not compatible with a 21st-century (scientific) world view. Jaak Panksepp and Antonio Damasio are contemporary writers who reject dualism, and whose views take the form of “biological naturalism”. I first discuss how their views compare in five specific respects; and then I look more closely at how the different emphases of the views affect their ability to account for the evolutionary advantages of consciousness, specifically. Both authors agree that “consciousness” (...) provides creatures with a survival advantage in terms of their ability to produce novel and/or flexible responses, their ability to plan ahead, and their motivation to promote their own survival – but the exact means by which they think these advantages are conferred, in each of these respects, differ. One might say that, whereas Damasio thinks the main evolutionary advantages of “consciousness” (the “higher reaches” of which are unique to humans) have to do with enabling creatures to work out what to do to promote their well-being, Panksepp thinks the main advantage of “consciousness” is that being “conscious” of affective feelings urgently motivates creatures to take action when their well-being is threatened. Considering that “working out what do” is only possible for a small selection of cognitively sophisticated organisms, I argue that Panksepp’s account is more plausible than Damasio’s account. (shrink)

In this volume we will focus on how educators in high schools (grades 9-12) can incorporate the teaching of ethics effectively across all disciplines.

This book charts new territory by mapping the range of international actors who affect the governance of ethnic diversity and exploring their often contradictory roles and impacts.

Human beings are social animals. A solitary life would be horrible for most of us. What makes life worthwhile is being with others and engaging in shared projects with them. To do justice to these facts, philosophers need to pay more attention to the first-person plural, we/us, and to rethink their accounts of value and virtue.

Some see the co-cognitive view of how we arrive at judgements about others' thoughts as a version of the analogy approach, where I reason from how I find things to be with me to how they will be for others. These thinkers think it a virtue of the view that it need not accept any linkage between thought and rationality. This paper will, however, defend the view that a co-cognitive view is a natural ally of theories which link thought and (...) rationality. It will try to show that exclusive stress on analogy is unduly sceptical about our cognitive capacities and overestimates our similarity to each other. (shrink)

Diagrams make it possible to present scientific facts in more abstract and generalized form. While some detail is lost, simplified and accessible knowledge is gained. E. B. Wilson's work in cytology provides a case study of changing uses of diagrams and accompanying abstraction. In his early work, Wilson presented his data in photographs, which he saw as coming closest to “fact.” As he gained confidence in his interpretations, and as he sought to provide a generalized textbook account of cell development, (...) he relied on increasingly abstract diagrams. In addition, he came to see that highly abstract and even schematic drawings could provide more than pictures directly from life. (shrink)

What kind of things are damaged art-objects? Are they junk, trash, mere stuff? Or do they remain art by virtue of their distinguished provenance or still discernible design? What kind of powers do such things have as material bodies and forces? Instead of attempting to locate proper concepts for salvaged art-things, this essay, from a perspective centered on the power of bodies-in-encounter – where “power” in Spinoza’s sense is the capacity to affect and be affected – attempts to home in (...) on the presence of a material vibrancy in the hope of better understanding the postures, reactions, and comportments that damaged art pieces inspire as we engage with them. This article proposes that even so-called “inanimate” things convey specific degrees of animacy even if not all of them qualify under the biological definition of life. (shrink)

First person authority, argues Moran, is not to be understood as a matter of having some especially good observational access to certain facts about oneself. We can imagine a person who can report accurately on her own psychological states, for example because she can perform, without conscious thought, extremely reliable psychoanalytic-style diagnoses of herself. But the ‘authority’ with which she produces her judgements resembles that which she could have about another person in that it can exist even when she does (...) not endorse or identify with the states she reports on. In imagining such a person we see that her speech about herself is very different from our more usual sort of psychological self-attributions and that something central to their authority, something we want to explain, has gone missing. Also the observational view does not illuminate why it is only psychological states to which one can have such privileged access, and only one’s own; nor does it explain why loss of such access is a serious matter. (shrink)

Abstract“Development” suggests that there is something that is developing, or changing over time. We can ask about temporal boundaries of that developmental process, asking when development begins or ends and whether it has defined stages along the way, for example. We can ask about spatial boundaries as well: where does the developing object start and end? For this article, I ask about the boundary definition of the developing organism in particular. What is an individual organism, and what defines it as (...) the same organism as it changes over time? In particular, how has this been answered historically: how have researchers described and explained what an individual developing organism is? This article explores ideas and approaches especially starting in the late 19th century, and in particular looks at the role of “organization.”. (shrink)

In recent decades conservation biology has achieved a high position among the sciences. This is certainly true of South Africa, a small country, but the third most biodiverse in the world. This article traces some aspects of the transformation of South African wildlife management during the 1930s to the 1960s from game reserves based on custodianship and the "balance of nature" into scientifically managed national parks with a philosophy of "command and control" or "management by intervention." In 1910 the four (...) British colonies had formed the Union of South Africa, and by the 1920s there was wide acceptance of national parks, a development influenced by their success in the United States. It was not, however, until after the Second World War, that management of the expanding conservation estate altered from a rather unsystematic laissez faire variety, into more scientifically informed management practices with an efficient bureaucracy in charge. This was achieved by modifications in organizational structures and institutional cultures initiated by a change of government in 1948 which, this article argues, impacted in turn on wildlife management and shaped and professionalized many aspects of that field science. "Management by intervention" was the hallmark of South African wildlife and conservation biology from the 1960s until recently, when there have been shifts towards "adaptive resource management" in a period of further change in the country's politics. (shrink)

Indexical predication is possible as well as the more familiar indexical reference. ‘My curtains are coloured thus’ describes my curtains. The indexical predicate expression it contains stands to possible non‐indexical replacements as a referring indexical does to possible non‐indexical replacements , in that it calls upon the context of utterance to fix its semantic contribution to the whole. Indexical predication is the natural resource to call upon in talk about skilful human performances, where we exhibit considerable know‐how but little explicit (...) know‐that. Speech is among such performances. Both direct and indirect speech reports may be illuminated by seeing them in the light of this thought. A corollary of the approach is that the prospects of providing a formal semantic treatment of indirect speech do not look good. (shrink)

Susan Stebbing's Thinking to Some Purpose is analysed along the lines of contemporary efforts in critical thinking, and some of the problematized media material of her time. It is concluded that what Stebbing recommends is difficult to achieve, but worth the effort.Export citation.

The legendary Greek figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original (...) essays in Black Orpheus examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction. (shrink)

An examination of the growing literature on gender and science leads to the conclusion that Richardson (1984) has underestimated the significance for philosophy of science of ideological critique. After describing one segment of this literature, namely, gender-based analyses of particular branches of scientific research, this paper argues that the function of at least gender ideological critique goes beyond explanation and that its explanatory function itself is broader than Richardson suggests. The paper also questions the thesis that the isolation of an (...) ideological component in scientific research never in itself discredits that work. In so doing, it casts doubt on the adequacy of L. Laudan's taxonomy of scientific problems. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:AngloModern: Painting and Modernity in Britain and the United StatesJane DuranAngloModern: Painting and Modernity in Britain and the United States, by Janet Wolff. Ithaca: Cornell University Press, 2003, 172 pp.AngloModern, Janet Wolff's scintillating attempt to limn the construction of modernity in the visual arts, is more than worth reading for a number of reasons. In this work, she details how modernity positioned itself against a number of strands (...) of development, and then, by a process of exclusion, formulated its own stance. As poststructuralist theory has taught us, the procedures of building an excluded body against a center, when closely examined, frequently tell us more about a rubric or label than we could otherwise have imagined.Wolff is primarily concerned with three areas of exclusion/construction for the turn in the visual arts, painting in particular, that began at the opening of the twentieth century. Toward the beginning of the work, she notes that there was always a continuous realist and figurative genre at work even in modernist circles, but it seldom achieved anything like the recognition that the more typically abstract works we associate with the rise of modernism gained. She associates this area of nonrecognition with the work of women in particular, and these two areas alone — the realist/figurative and any work done by a woman artist — constitute two of her most important foci in AngloModern. In addition, and with some difficulty, since it adds a layer of complication, she is concerned about the exclusion and marginalization of Jewish artists during thisperiod — both in galleries and in thecommentary generated by the art world — although it is clear that many of the major "abstract" works associated with modernism were, in fact, produced by Jewish artists.Wolff is at her best in laying out in precise detail how it is that the culture of the art world throws up nearly insurmountable barriers against those deemed unworthy at a fairly early point in the construction of any new movement. The single strongest chapter in the work may well be the second, "Questions of Discovery: the Art of Kathleen McEnery," in which Wolff shows how various processes of categorization kept the work of this extremely talented woman from receiving anything like the recognition it deserved for a long period of time. Wolff sums up her overall project, and how it will relate to an artist such as McEnery, in her Introduction, when she writes:The story of modern art that is challenged [in her book] is the narrative tracing the development of Western painting from France to the United States, in a lineage more or less running from Manet and Post-Impressionism, by way of Cubism and Surrealism, to Abstract Expressionism. It is a story produced and reinforced by critics, academics, curators, and museum directors.(p. 3)Women artists, for example, were frequently excluded not only becausethey were women, but because they may have tended to engage in painting that was more realist, which itself [End Page 118] became coded as "feminine," and so forth. McEnery's intriguing portraits of the early two decades of the twentieth century were "discovered," as Wolff notes for the l987 inaugural exhibition of the National Museum of Women in the Arts, despite the fact that McEnery had at one point been fairly well-known (pp. 41-42). A woman at work in a figurative tradition, and working in suburban circles far away from the geographical centers of the art world, she was quickly at the mercy of the canonical forces of art historical construction.As we attempt to educate our students about rubrics, social movements, and the relationship of the arts to the political events of an era, we can do little better than to cite, for illustrative purposes, a number of interesting cases, and Wolff does just that. In sharp and incisive prose, she not only investigates McEnery's disappearance from the approved version of the early American modernist scene, but she also examines the construction of the early group displayed at the Whitney, the notion of the "feminine" in the work of Simmel and Benjamin, and, finally, the notion of the "Jewish artist." As her exemplar for the... (shrink)

The case of the reintroduction efforts made on behalf of the California condor is examined, with a view toward discussing both the environmental difficulties and the overall cost. The work of Singer, Snyder, and others is cited, and it is concluded that the work was worthy, but that a full articulation of the problems has seldom been made.

In lieu of an abstract, here is a brief excerpt of the content:Bilingual Aesthetics:A New Sentimental EducationJane DuranBilingual Aesthetics: A New Sentimental Education, by Doris Sommer. Durham and London: Duke University Press, 2004, 254 pp.Doris Sommer's new work Bilingual Aesthetics is the sort of book that takes one by surprise—and for good reason. Filled with punning twists, and itself a valorizer of word games and magic, this work has not a lot to do with bilingualism (in the standard sense), not (...) a lot to do with aesthetics (again, in the standard academic sense), but a great deal to do with both. Whether the title is read (and Sommer's point is to forward the notion of alternate readings) as the aesthetics of bilingualism or as an account of what a bilingual might make of aesthetics, there is a startling amount of content in the work.Briefly, Sommer essays to make the case that our multicultural society is distinctly better off for being multicultural and multilingual (or at least, in some threatening sense, emergently bilingual) because the literal bilingual has a distinct advantage over her or his monolingual counterpart. The bilingual can play language games, and those games shock, amuse, or jolt—whatever it is that they do, they rouse us out of any state of intellectual torpor into which we might have fallen and they serve to make us all individuals who, in Du Bois' memorable phrase, have "double consciousness."Thus Sommer does in fact mean for her title to be read in at least two ways: Her work attempts to valorize and vindicate a sort of unofficial bilingualism (one of the blurbs on the back of the paperback edition begins by saying "Knowing a second language entails some unease... "), while she also attempts to let us in on the notion that there is an aesthetic that develops from the use of more than one code. Sommer plays remarkably on all these concepts: She is familiar with the standard, overt scholarship on bilingualism—she can cite work by sociolinguists and others. At the same time, as an author known for previous work on literature, especially with regard to Latin America, she is also familiar with much of the standard historical work in aesthetics, including Kant. Citing thinkers such as Kenji Hakuta, William J. Bennett, Wittgenstein, and Elena Poniatowska, Sommer leaves the reader somewhat bedazzled and breathless but better off for having read her work.Her overall thesis, if one may attempt to employ such a phrase, is that bilingualism and code-switching create for us the same sort of uneasiness and inevitable access to the unconscious that works of art and literature produce—and that the edginess that is a concomitant of code-switching is beneficial. Her first chapter "Choose and Lose" reminds Americans that the United States has always been a multilingual place and focuses on how much can be gained from attempting to forward the notion. If there is any difficulty to Sommer's work, it is that she practices what she preaches. Every page demands much of the reader, since every page itself engages in the [End Page 121] sort of rapid-fire twisting and switching that Sommer is trying to support as the ground for a new aesthetic consciousness.Early on, Sommer gives us the following:Complaints about the danger to national coherence [of multi- or bilingualism] can be downright funny.... [One irate journalist wrote:] "How can immigrants identify with America if they can't read Lincoln's words in the language in which they were spoken?(out of many, one) to a multicultural boarding house,...?" No need to be upset at this harangue. It's obviously a joke, even if the author missed it (a common asymmetry in bilingual humor). Notice that the translation from Latin assumes that English-only citizens don't understand the very slogan they hold dear.(p. 26)But of course the joke is to some extent on Sommer and on all of us, as she no doubt intends. It is highly unlikely that the journalist did get the humor, and the only funny part of the entire tirade is that we—assuming we have enough formal education—may be able to make something out of it... (shrink)