The aim of this study was to evaluate terminal care among hospitalized children who died of HIV/AIDS. The design was a retrospective.

The principles of equality and equity, respectively in the Bill of Rights and the white paper on health, provide the moral and legal foundations for future health care for children in South Africa. However, given extreme health care need and scarce resources, the government faces formidable obstacles if it hopes to achieve a just allocation of public health care resources, especially among children in need of highly specialised health care. In this regard, there is a dearth of moral analysis which (...) is practically useful in the South African situation. We offer a set of moral considerations to guide the macro-allocation of highly specialised public health care services among South Africa's children. We also mention moral considerations which should inform micro-allocation. (shrink)

The new South African constitution commits the government to guarantee "basic health services" for every child under 18. Primary health care for pregnant women and children under six and elements of essential primary health care have received priority. At present, there is little analysis of the moral considerations involved in making choices about more advanced or costly health care which may, arguably, also be "basic". This paper illustrates some of the tensions in setting priorities for a just macro-allocation of children's (...) health care, given the realities of need and scarce resources, and the commitment to equality of basic opportunities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reply to Flage Lesley Friedman "The chiefexercise of the memory," Hume tells us, "is not to preserve the simple ideas, but their order and position."1 On Daniel Flage's interpretation ofHume, however, it is the only exercise ofthe memory (1985a, 1985b, 1990). Flage's account can accommodate onlymemories of complex ideas; he disallows the possibility of 'preserving* a simple idea in its simplicity. Yet there is an example of a (...) purely simple impression in the Treatise; and since for every impression there is in principle a corresponding idea which we can later recall, this example establishes the existence of a purely simple memory-idea. In what follows I will provide support for this claim, Flage's counterarguments (this volume) notwithstanding. Flage argues that given any perceived object, say a coloured dot, there is a visual field in which we perceive it. This field and the impression we receive from it, "must be a complex impression, that is, an impression that is composed of indefinitely many colour points. In this respect it is analogous to a pointillist painting or, to use a more contemporary example, a computer array composed of pixels" (1993, 190). Flage is probably right about this; from our point of view, it is implausible to suggest that there is any purely simple background, or worse, that there is no impression ofa background at all. Nonetheless, my concern is with what Hume thought and not with what is plausible orimplausible; and Hume does give an example ofa "background" that is notcomplex, namely, the scenarioinwhichwe perceive points oflight in darkness. We may observe, that when two bodies present themselves, where there wasformerly an entire darkness, the onlychange, that is discoverable, is in the appearance ofthese two objects, and that all the rest continues to be as before, a perfect negation oflight, and of every colour'd or visible object. This is not only true of what may be said to be remote from these bodies, but also of the very distance; which is interpos'd betwixt them; that being nothing but darkness, or the negation of light; without parts, without composition, invariable and indivisible. (T 57, bold italics added) I originally considered the ink spot experiment and theidea ofred in the dark as examples ofpurely simple impressions. Let me try this Volume XLX Number 1 199 LESLEYFRIEDMAN again, elaborating a bit more on the latter (what I take to be Hume's example of a version of the ink spot experiment). Early on in the Treatise Hume speaks of"that idea ofred which we form in the dark" (T 3). Let us then consider a red spot in complete darkness. Flage and I agree that this spot is qualitatively simple. Our disagreement is rooted in the nature ofthe "background," in this case the darkness. Flage claims that "the sighted-person sitting in the dark has an impression or impressions, namely, an impression of darkness" (1993, 190); and therefore the impression we have of the spot of red in darkness is not purely simple. In support of this claim he cites the followingevidence: Hume's remarks that (1) "the sighted-person sitting in the dark "receives no other perception... than what is common to him with one born blind' " (ibid., 189; T 55-56), and (2) "the idea of utter darkness can never be the same with that of vacuum" (T 56). Let me take each ofthese in turn. Presumably, the first quote is cited in order to estabUsh that the blind person does indeed have a perception (impression) of darkness. This cannot be right; ifsuch a person had an impression ofdarkness, he would also have an idea of darkness, and if we look to the part of the sentence which Flage leaves out of his quotation, we find the following: "and 'tis certain such-a-one [that is, a blind person] has no idea either of light or darkness" (T 56). Hume's point is simple: the reason that the blind person has no idea ofdarkness is because he has no impression of darkness; and we are in the same position as him when we are sitting in the dark. Nor does the second quote provide evidence for the... (shrink)

Iris Murdoch's famous case of M and D illustrates the moral importance of learning to see others in a more favourable light through renewed attention. Yet if we do not read this case in the wider context of Murdoch's work, we are liable to overlook the attitudes and transformations involved in coming to change one's mind as M does. Stanley Cavell offers one such reading and denies that the case represents a change in M's sense of herself or the possibilities (...) for her world of the kind exemplified by Nora in Ibsen's A Doll's House. In this essay, I challenge Cavell's reading, suggesting that the case, while it may not be an exemplar of the perfectionist outlook as described by Cavell, can and should be interpreted in perfectionist terms. To see this, I reflect on Murdoch's views on the endless perfectibility of language, the importance of humility, and the role of love and attention in moral learning. I conclude that Murdoch's work uniquely sheds light on how we might cultivate a perfectionist outlook in ourselves and others, and describes the distinctive role that some novels can play in moral education. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Another Look at Flage's Hume Lesley Friedman In recent articles, Daniel Flage (1985a, 1985b) offers an interpretation of Humean memory-ideas as relative ideas: ideas of memory are analogous to definite descriptionsinsofar as they single outexactly one entity.1 Consequently, Flage argues that Hume has provided an adequate distinction between ideas generated by memory and ideas generated by imagination. It is my contention that Flage's reading is neither consonant with (...) Hume's remarks in the Treatise nor successful in reducing the number ofdifficulties with Hume's theory ofmemory. I shall argue that (1) it is not clear that all memory-ideas are complex (an assumption necessary for Flage's interpretation); (2) Flage construes all memory as episodic, but he overlooks semantic memory; and (3) there isa distinction between mis-remembering and imagining which Flage's account cannot accommodate. It is worth noting that Flage contends that he is giving an interpretation ofHume's account ofmemory; he is not simply attempting to find out the truth ofthe matter. That is, Flage's position is that there is good reason to think that Hume construed memory-ideas as relative ideas. Accordingly, Flage must provide evidence, preferably textual, for the claim that Hume held such a view. My position is thatit is unlikely that Hume held such a view, and even if he did, it is inadequate for grounding an external distinction between memory-ideas and imagination-ideas. In short, claiming that Hume was interested in a decisive distinction between ideas ofmemory and ideas ofimagination is to involve Hume in problems with which he was not concerned. Not only are Flage's remarks in conflict with Hume's, but ifwe readhim as Flage suggests, Hume's theory ofmemory becomes considerably more riddled with problems than it is if we do not so read him. Flage and Hume In section 1 of Treatise 1.1, Hume draws his celebrated distinction between ideas and impressions. In the second section he considers impressions in some detail and he does the same for ideas in section three. Following every impression, Hume claims, there is a corresponding idea, either produced by the faculty of memory or the faculty of imagination. He takes it as no less than obvious that memory-ideas are more "lively and strong" than imagination-ideas: Volume XDi Number 1 177 LESLEY FRIEDMAN Tis evident at first sight, that the ideas of the memory are much more lively and strong than those of the imagination, and that the former faculty paints its objects in more distinct colours, than any which are emplo/d by the latter.2 That memory-ideas are more lively than their counterparts in imagination Hume construes as asensible difference between the two. Accordingly, I shall refer to this difference as the internal difference. Thereis,however,another difference betweenthesekinds ofideas, namely, that memory-ideas preserve the order and form of their corresponding simple ideas, while imagination-ideas need not: Tis evident, that the memory preserves the original form, in which its objects were presented, and that where-ever we depart from it in recollecting any thing, it proceeds from some defect or imperfection in that faculty.... The chiefexercise of the memoryis not to preserve the simpleideas, but their order and position.... The same evidence follows us in our second principle, of the Uberty ofthe imagination to transpose andchange its ideas. (T 9-10) I shall refer to the above as the external difference between memory-ideas andimagination-ideas.3 During his discussion ofcausation, Hume elaborates on the above differences. The external difference, he claims, "is not sufficient to... make us know the one from the other; it being impossible to recai the pastimpressions, in order to compare them with our present ideas, and see whether theirarrangementbe exactlysimilar" (T85). He concludes that the difference between memory and imagination is simply that memory-ideas are more forceful and vivacious than imagination-ideas. In short, since the external difference is non-phenomenal, it is inadequate for distinguishing, in practice, between ideas that are the product ofmemory and ideas that are the product of the imagination. Before concluding his discussion of the above differences Hume voices anote ofscepticismconcerningthe internal difference. He argues that theinternal... (shrink)

Attorneys increasingly rely on the services of mental health practitioners. Although some practitioners lack training, the promise of professional rewards lead some to accept opportunities with resulting ethical quandaries. Due to significant differences between the objectives of traditional mental health services and expert testimony, problems occur when clinicians venture into forensic services. Attorneys and judges, unfamiliar with mental health specialties, may seek to press a mental health practitioner into multiple roles. Although not all multiple roles are ethically inappropriate, caution demands (...) careful parsing of particular roles: (a) academic/behavioral science expert; (b) fact witness as a treating therapist; (c) expert witness based on a clinically oriented assessment; (d) pretrial and/or trial consultant; and (e) professional critic of other experts. Possible ethical issues and risks associated with accepting multiple roles are identified and strategies for avoiding or minimizing harm or exploitation are discussed. (shrink)

Cet ouvrage collectif, fruit d'un colloque tenu au College Saint Hilda d'Oxford au cours de l'été 1993, réunit quatorze contributions qui ont pour point commun d'interroger la relation entre la femme et le livre au Moyen Age exclusivement à partir des images. D'où la participation de la British Library qui accueille ce volume dans sa série consacrée à l'exploration et à la valorisation des manuscrits médiévaux. Le livre est divisé en trois parties : la première est consacrée aux images...

MICHAEL D. RESNIK, Frege and the philosophy of mathematics. Ithaca and London: Cornell University Press, 1980. 244 pp. $16.50. HANS D. SLUGA, Gottlob Frege. London, Boston and Henley: Routledge & Kegan Paul, 1980. xi + 203 pp. £ 12.95.

Method in Ancient Philosophy brings together fifteen new, specially written essays by leading scholars on a broad subject of central importance. The ancient Greeks recognized that different forms of human activity are guided by different methods of reasoning; examination of how they reasoned, and how they thought about their own reasoning, helps us to see how they came to hold the views they did, and how our own methods of enquiry have developed under their influence. Contributors include Terence Irwin, Patricia (...) Curd, Ian Mueller, Robert Bolton, A.A. Long, Gail Fine, Constance C. Meinwald, Lesley Brown, Gisela Striker, C.D.C. Reeve, Charlotte Witt, Richard Kraut, Sarah Broadie, James Allen, and G.E.R. Lloyd. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Friedman's Look Daniel E. Flage In a pair of articles and a book (Flage 1985a, 1985b, 1990), I argued that Hume's ideas of memory are relative ideas. In "Another Look at Flage's Hume" (this volume), Lesley Friedman challenges my account on four points. She argues (1) that it is possible to remember simple ideas in their simplicity; (2) that I have misrepresented Humean impressions ofreflection; (3) that (...) I have overlooked the importance of force and vivacity in Hume's account ofmemory; and (4) that there is no textual evidence for claiming that Humean ideas of memory are relative ideas. In addition, she contends that my interpretation cannot account for mis-remembering. In this paper I show that some of the problems Friedman finds with myinterpretation arise from myreading of Lockean distinctions into the Treatise while others stem from my conflation of distinctions drawn in the first Enquiry with comparable distinctions in the Treatise. 1. Remembering simple ideas My argument that Humean ideas ofmemory are relative ideas is based primarily on Hume's remarks in three passages. In Treatise 1.1.3, one finds this: "the imagination is not restrain'd to the same order and form with the original impressions; while the memory is in a manner tytt down in that respect, without any power of variation."1 Later in the same passage one finds this: Tis evident, that the memory preserves the original form, in which its objects were presented, and that where-ever we depart from it in recollecting any thing, it proceeds from some defect or imperfection in that faculty.... The chiefexercise of memory is not to preserve the simple ideas, but their order and position. (T 9) And in Treatise 1.3.5, one finds this: These faculties [memory and imagination] are as little distinguish'd from each other by the arrangement of their complexideas. For tho'itbe apeculiar propertyofthe memory to preserve the original order and position of its ideas, while the imagination transposes and changes them, as it pleases; yet this difference is not sufficient to distinguish them in their Volume XLX Number 1 187 DANIEL E. FLAGE operation, or make us know the one from the other; it being impossible to recai the past impressions, in order to compare them with our present ideas, and see whether their arrangement be exactly similar. (T 85) This is only one characteristic ofideas ofmemory, the other being the greater degree of"force andvivacity" in an idea ofthe memory vis-à-vis an idea ofthe imagination (T 9, 85). I call this characteristic the formal criterion (Flage 1985a, 171); Friedman calls it the external difference (p. 178). These passages show that ideas of the memory represent earlier impressions, or ideas, or "events," or things known.2 How do they do so? Given the remarks on the preservation of"order and form" and "order and position," and given that resemblance alone is not sufficient to distinguish nonmnemonic ideas from mnemonic ideas (see T 9), I argued that there is an implicit causal thesis: an idea ofmemory singles out the impression that was its original cause. It is a relative idea corresponding to a definite description ofthe form, "the impression that is the (original) cause of and exactly (or closely) resembles m," where 'm' denotes a particular positive idea. (Flage 1985a, 172)3 If my account of memory is correct, there is a positive idea ("mental image") that provides the basis for every relative idea of memory. Further, this positive idea must be complex. Friedman objects (pp. 180-81) that insofar as my account requires that there be a complex positive idea that provides the basis for one's relative idea of memory, this conflicts with several passages in the Treatise. She cites the ink spot experiment (T 42) as showing that one can have a simple impression of colour. She remarks, "Since we can have such a simple impression, we can also remember it" (p. 180), adding, "It seems clear that Hume thinks that in the [ink spot] experiment, all that is present in one's visual field is the spot of ink" (ibid.). Since I had argued that "Hume's example ofseeing a minimum... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Method in Ancient PhilosophyDavid K. GliddenJyl Gentzler, editor. Method in Ancient Philosophy. Oxford: Clarendon Press, 1998. Pp. viii + 398. Cloth, $72.00.The fifteen papers in this collection constitute revisions of conference proceedings and reflect the varied interests of participants. The ensemble exhibits a thoroughly modern methodology. Whatever and however various ancient methods of philosophy may have been, in Anglo-American scholarship it is standard practice to first address established (...) scholarly interpretations as the primary entry point to critical discussionóoften displacing antiquity with a critical vocabulary of philosophical modernity. Scholars may come to understand each other better, but at the risk of asking the wrong questions or sacrificing ancient texts themselves as mere means of producing papers.Most scholars are progressives. They believe philosophy has advanced past the comparatively primitive wisdom of antiquity, and so such scholars feel perfectly entitled to make better sense of ancient texts, by patiently explaining what the ancients would have meant had they only been able to get it right. There are, of course, exceptions. And some papers in this collection suggest deeper faith in our philosophic fathers. So, the battle between the ancients and the moderns is joined once more, between those who would adorn their papers with footnotes for their peers and those who would attempt more anthropological an inquiry into ancient philosophic practices.Ian Mueller and Robert Bolton each address the same passage in Plato's Phaedo, both beginning with an article from Vlastos, first published in 1969. Mueller thoughtfully explores three different yet related accounts of what we might call scientific method in explaining Plato's views on natural change. Bolton wonders whether scholars are asking the wrong questions. Patricia Curd attempts a progressivist account of Eleatic thought, notwithstanding her recognition of the paucity of ancient sources. Complete with elaborately numbered sentences, Gail Fine focuses primarily on Burnyeat (1976) on Plato on Protagoras. Constance Meinwald presents a rather near-sighted account of two passages in the Philebus that employ the peras-apeiron distinction, with a view toward Plato's allegedly modernist mathematization of understanding. Lesley Brown revisits five pages of the Sophist that were hotly debated in the 1960s. With charity and elegance, she offers several plausible solutions to puzzles posed by previous scholars. Sometimes time smoothes over differences.A. A. Long's essay on Plato's presentation of Socrates in the Theaetetus might appear more philosophically anthropological. Yet Long reveals progressive sympathies, suggesting that Plato dispatches Socrates in the Theaetetus, so as to prepare the way for a more rigorously academic form of philosophizing, such as that exhibited in the Sophist. [End Page 111] In this way, Long speculates, Plato abandoned practical ethics for the academic life of research, so familiar to university professors and conference participants. It might be hard to square such speculation with Plato's Laws and the reception of Plato's writings among his own contemporaries. Still, Socrates' shifting role in Plato's dialogues is well worth pondering.By comparison, T. H. Irwin's contribution is wonderfully old-fashioned. His paper addresses the background knowledge to be presumed by ancient readers of Plato's dialogues and how that knowledge is artfully put to use in Plato's depiction of Socrates' reflections on the unity of virtue. By speculating on Plato's relation to his ancient readers, Irwin displaces many modernist preoccupations, though not without himself falling victim to that peculiar scholarly obsession of dating Plato's dialogues by their doctrines.With characteristic conservatism, Gisela Striker cautions scholars not to over-read Aristotle's Prior Analytics. While that extraordinary work may have deep implications for the history of formal logic, it probably was instead intended to be part of a general account of argument. In a similar vein, Charlotte Witt attempts to rescue Aristotle from scholars who would delimit Aristotle's multifarious uses of the "for the sake of" explanation, which altogether pervade his metaphysics, physics, biology and ethics. Yet, Witt soon finds herself competing in a contest over interpretive distinctions, a sport that will certainly never capture Aristotle's own authorial intentions.Facing another mass of scholarship, in this case on Aristotle's dialectic, C. D. C. Reeve sensibly attempts to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about the term (...) "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

Cette présentation rappelle certains des paramètres centraux de l’analyse de la variation linguistique. Si la variation apparaît contredire l’idée d’un système linguistique homogène, elle n’en reste pas moins un phénomène social : elle ne se confond pas avec les productions idiolectales, qui elles-mêmes, si elles sont compréhensibles, exploitent des potentialités du système linguistique. Les différents groupes auxquels peut être affilié un locuteur sont concernés par la variation grammaticale et lexicale, et les variables peuvent servir à indexer l’appartenance au groupe. C’est (...) ce dont rend compte la sociolinguistique des réseaux de Lesley Milroy, dont une application récente à la diachronie du français est discutée. L’usage de corpus pour évaluer les réseaux sociaux qui sous-tendent la variation historique est le thème de ce numéro dont les contributions sont présentées. (shrink)

Method in Ancient Philosophy brings together fifteen new, specially written essays by leading scholars on a broad subject of central importance. The ancient Greeks recognized that different forms of human activity are guided by different methods of reasoning; examination of how they reasoned, and how they thought about their own reasoning, helps us to see how they came to hold the views they did, and how our own methods of enquiry have developed under their influence. Contributors include Terence Irwin, Patricia (...) Curd, Ian Mueller, Robert Bolton, A.A. Long, Gail Fine, Constance C. Meinwald, Lesley Brown, Gisela Striker, C.D.C. Reeve, Charlotte Witt, Richard Kraut, Sarah Broadie, James Allen, and G.E.R. Lloyd. (shrink)

This celebratory Festschrift dedicated to Charles Kahn comprises some 23 articles by friends, former students and colleagues, many of whom first presented their papers at the international "Presocratics and Plato" Symposium in his honor. The conference was organized and sponsored by the HYELE Institute for Comparative Studies, Parmenides Publishing, and Starcom AG, with endorsements from the International Plato Society, and the Dean of the School of Arts and Sciences, University of Pennsylvania. While Kahn's work reaches far beyond the Presocratics and (...) Plato, it is in these subject areas that the distinction of his scholarship has come to be regarded as virtually unrivaled. The articles contributed to this volume are by some of the most renowned scholars working on these topics today, their breadth and depth bearing witness to his profound impact and influence on the discipline of Ancient Greek Philosophy._ Charles Kahn taught Classics and Philosophy at Columbia University from 1957 to 1965, and has since been teaching in the Philosophy Department of the University of Pennsylvania. He spent a year as Visiting Professor at the American School of Classical Studies in Athens, and had additional Visiting Fellowships at Balliol College, Oxford and Clare Hall, Cambridge, and a term as Visiting Professor at Harvard. He is the recipient of several prestigious research grants, from the American Council of Learned Societies, the National Endowment for the Humanities, and the Guggenheim Foundation. In 2000 he was elected Fellow of the National Academy of Arts and Sciences. He is the author of _Anaximander and the Origins of Greek Cosmology, The Verb “Be” in Ancient Greek, The Art and Thought of Heraclitus, Plato and the Socratic Dialogue, Pythagoras and the Pythagoreans, and Essays on Being_. His latest book,_Plato and the Post-Socratic Dialogue_, is forthcoming from Cambridge University Press. _ Contributors: Julia Annas Sarah Broadie Lesley Brown Tomás Calvo-Martínez Diskin Clay John M. Dillon Dorothea Frede Arnold Hermann Carl A. Huffman Enrique Hülsz Piccone D. M. Hutchinson Paul Kalligas Vassilis Karasmanis Aryeh Kosman Anthony A. Long Richard McKirahan Susan Sauvé Meyer Alexander P.D.Mourelatos Satoshi Ogihara Richard Patterson Christopher J. Rowe David Sedley Richard Sorabji. (shrink)

D. Barton Johnson traces the parallel lives and literary origins of two Russo-American writers: Ayn Rand and Vladimir Nabokov. Born in Saint Peterburg six years apart, they overlapped on the New York Times bestsellers list in the late fifties. While Nabokov's Russian cultural roots have been much explored, Rand's were little realized prior to Chris Matthew Sciabarra's investigation of her Russian philosophical context. Nabokov and Rand represent polar examples of their cultural heritage: for Nabokov, the aesthetically-oriented tradition of the modernist (...) Russian Symbolists; for Rand, the social-utilitarian tradition of Nikolai Chernyshevsky, and later, Maxim Gorky, founder of Socialist Realism. (shrink)

The quest for the one "Truth" in a pluralist society seems to have become as redundant as it is problematic - in much the same way that the idea of one "God" being the all-determining reality has. Yet we have not given up searching and the word "God" still continues to polarize, whether in society, theology or philosophy. In view of this seeming paradox, Friederike D. Rass seeks an alternative route that goes off the beaten track and beyond the temptation (...) to resignedly retreat to relativist or fundamentalist positions. She argues that it is precisely the supposedly futile quest for a single "Truth" as well as the continuous questioning of the meaning of the word "God" that provide an essential guide to responsible action today. (shrink)

Sanskrit text with commentaries on the theories of error in Mīmāṃsa school in Hindu philosophy by Maṇḍanamiśra, 7th century philosopher.

John Kinsella’s poetry returns again and again to the landscape of the Western Australian wheatbelt. The wheatbelt is a region that was suddenly and violently re-made by capital in the service of cereal and fibre production during the course of the twentieth century. Despite this radical repurposing of land and the wholesale eradication of an ancient biome, the new farming zone quickly took on the halo of a natural landscape within state and nationalist ideologies. Against the backdrop of this event, (...) Kinsella’s wheatbelt can be viewed as a comprehensive deconstruction of the forces that have led the wheatbelt to where it is now and which still provide the material conditions of its existence. In this essay, Kinsella’s Divine Comedy: Journeys Through a Regional Geography is considered as exemplary of his wheatbelt poetry. The essay explores the basic conceits that animate Kinsella’s poetics of critique. It argues that Kinsella’s poetry offers a strategic intervention into the claims of “capitalist realism,” which is Mark Fisher’s term for the foreclosure of alternatives to profit-driven patterns of production and consumption. Capitalist realism, in the context of the wheatbelt, asserts that whether we like it or not, one cannot argue against the basic entitlement that productive imperatives have to use land as they see fit. This essay attempts to detail the kinds of ways that Kinsella’s poetry tries to fracture this claim to common sense that capitalist production monopolises. What it finds, somewhat counter-intuitively, is that Kinsella’s poetry draws together two things which are traditionally regarded as antinomies – the machine and the organism. In this respect, Kinsella’s poetry is distinctly different from conventional ecopoetry, which tends to uphold the distinction between an authentic nature and a corrupting technology. Kinsella’s Divine Comedy makes use of the tripartite layering of Dante’s eschatology to evolve new topologies of being in the wheatbelt, and indeed, being in the world. Further still, the essay makes the claim that Kinsella delivers us a “cybernetic wheatbelt,” which refigures nature as a communicative machine. (shrink)

During the nineteen years of her play-writing career, Aphra Behn had far more new plays staged than anyone else. This book is the first to examine all her theatrical work. It explains her often dominant place in the complex theatrical culture of Charles II's reign, her divided political sympathies, and her interests as a free-thinking intellectual. It also reveals her as a brilliant theatrical practitioner, who used the seen as richly and significantly as the spoken.

Liberty; Islamic philosophy; religious aspects; Islam.

Electronic communication and commerce facilitate the collection of information about individual use of the Internet. Focusing on the case of Comet Systems Inc. and its data gathering practices, this paper explores the technical details of gathering personal information in databases in general and the special character of the privacy issue raised by 'anonymous' information about individual behavior on the Internet. The case analysis suggests new insights for our understanding of privacy and frames a discussion of policy alternatives with respect to (...) the privacy of Internet communication. (shrink)

In the last decades of the XXth century we have witnessed a still growing interest in applied ethics, among them also bioethics, which in Slovak ethical literature was paid only a little attention as yet. The paper tries to examine the needs that led to the rise of bioethics, analyzing at the same time the concept of bioethics, its substance and subject. It deals also with its sources, putting stress on utilitarist and deontological ethics.