Mary Anne Warren investigates a theoretical question that is at the centre of practical and professional ethics: what are the criteria for having moral status? That is: what does it take to be an entity towards which people have moral considerations? Warren argues that no single property will do as a sole criterion, and puts forward seven basic principles which establish moral status. She then applies these principles to three controversial moral issues: voluntary euthanasia, abortion, and the status of (...) non-human animals. (shrink)

The past 25 years have seen an upsurge of interest in the figure of Mary Magdalene, whose image has been transformed through feminist scholarship from penitent prostitute to prominent disciple of Jesus. This article documents another, non-academic, interpretation of Mary Magdalene – the image of Mary as goddess or embodiment of the female divine. The most influential proponent of this view is Margaret Starbird, who hypothesizes that Mary was both Jesus’ wife and his divine feminine counterpart. (...) The author suggests that feminist theologians/thealogians should be aware of this popular understanding of Mary; and consider what it is about Mary Magdalene as the sacred feminine/bride of Jesus/sophia that captures the public imagination in a way that other feminist christologies do not. (shrink)

By a potential person I shall mean an entity which is not now a person but which is capable of developing into a person, given certain biologically and/or technologically possible conditions. This is admittedly a narrower sense than some would attach to the term ‘potential'. After all, people of the twenty-fifth century, if such there will be, are in some sense potential people now, even though the specific biological entities from which they will develop, i.e. the particular gametes or concepti, (...) do not yet exist. For there do exist, in the reproductive capacities of people now living and in the earth's resources, conditions adequate to produce these future people eventually, provided of course that various possible catastrophes are avoided. Indeed, in some sense of ‘potential’ there have been countless billions of potential people from the beginning of time. But I am concerned not with such remote potentialities but with currently existing entities that are capable of developing into people. (shrink)

When deciding what disorders to screen newborns for, we should be guided by evidence of real effectiveness, take opportunity cost into account, distribute costs and benefits fairly, and respect human rights. Current newborn screening policy does not meet these requirements.

In 1989, Helga Wanglie, 86 years old, broke her hip. This began a medical downhill course that a year later caused her health care providers to conclude that she would not benefit from continued medical treatment. It would be futile, and therefore, should not be provided. Her husband disagreed, and the conflict eventually led to a lawsuit. The Wanglie case touched off an extended debate in the medical and bioethical literature about medical futility: what it means and how useful the (...) concept is in making ethical decisions about starting or stopping treatment. (shrink)

Here is, we think, the point. It doesn't matter for what reason the writer or painter or lover destroys the creation: the real point is that destruction itself, like a gigantic statement. It is, in fact, something of an excitation, a stimulation to further thought: what is this ACTION about?' What do Stéphane Mallarmé, Antonin Artaud, Meret Oppenheim, Asger Jorn, Yoko Ono, Tom Phillips and Martin Arnold have in common? Whereas a wealth of critics have diagnosed contemporary art's preoccupations with (...) madness, depression and self-abuse as well as its tendency to cultivate an (anti- )aesthetics of the negative, the excremental and the abject (say, from the Vienna Action Group to Serrano, McCarthy or Delvoye), much less attention has been paid to how modern and contemporary artists and public have thrived on the destruction, disfiguration and obliteration of work by the artists and/or by that of others. From Artaud's 'terminal' notebooks to the recent upsurge in 'erasure poetics', the history of 'undoing' art deserves to be recounted in a positive mode and rescued from popular narratives of the decline and death of the avant-garde. (shrink)

Mary Anne Perkins re-examines Coleridge's claim to have developed a "logosophic" system which attempted "to reduce all knowledges into harmony." She pays particular attention to his later writings, some of which are still unpublished. She suggests that the accusations of plagiarism and of muddled, abstruse metaphysics which have been levelled at him may be challenged by a thorough reading of his work in which its unifying principle is revealed. She explores the various meanings of the term "logos," a recurrent (...) theme in every area of Coleridge's thought--philosophy, religion, natural science, history, political and social criticism, literary theory, and psychology. Coleridge was responding to the concerns of his own time, a revolutionary age in which increasing intellectual and moral fragmentation and confusion seemed to him to threaten both individuals and society. Drawing on the whole of Western intellectual history, he offered a ground for philosophy which was relational rather than mechanistic. He is one of those few thinkers whose work appears to become more interesting and his perceptions more acute as the historical gulf widens. This book is a contribution to the reassessment that he deserves. (shrink)

A History of Women Philosophers, Volume I: Ancient Women Philoophers, 600 B.C. - 500 A.D., edited by Mary Ellen Waithe, is an important but somewhat frustrating book. It is filled with tantalizing glimpses into the lives and thoughts of some of our earliest philosophical foremothers. Yet it lacks a clear unifying theme, and the abrupt transitions from one philosopher and period to the next are sometimes disconcerting. The overall effect is not unlike that of viewing an expansive landscape, illuminated (...) only by a few tiny spotlights. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Milton and Political CorrectnessMary Ann McGrail (bio)In the opening of the title essay of Persecution and the Art of Writing, Leo Strauss speculates:We can easily imagine that a historian living in a totalitarian country, a generally respected and unsuspected member of the only party in existence, might be led by his investigations to doubt the soundness of the government-sponsored interpretation of the history of religion. Nobody would prevent him (...) from publishing a passionate attack on what he would call the liberal view. He would of course have to state the liberal view before attacking it; he would make that statement in the quiet, unspectacular and somewhat boring manner which would seem to be but natural; he would use many technical terms, give many quotations and attach undue importance to insignificant details; he would seem to forget the holy war of mankind in the petty squabbles of pedants. Only when he reached the core of the argument would he write three or four sentences in that terse and lively style which is apt to arrest the attention of young men who love to think. That central passage would state the case of the adversaries more clearly, compellingly and mercilessly than it had ever been stated in the heyday of liberalism, for he would silently drop all the foolish excrescences of the liberal creed which were allowed to grow up during the time when liberalism had succeeded and therefore was approaching dormancy. His reasonable young reader would for the first time catch a glimpse of the forbidden fruit. The attack, the bulk of the work, would consist of virulent expansions of the most virulent utterances in the holy book or books of the ruling party. The intelligent young man who, being young, had until then been somehow attracted by those immoderate utterances, would now be merely disgusted and, after having tasted the forbidden fruit, even bored by them. Reading the book for the second and third time, he would detect in the very arrangement of the quotations from the authoritative books significant additions to those few terse statements which occur in the center of the rather short first part.[24–25]This description of exoteric writing—that is, writing with two teachings: “a popular teaching of an edifying character, which is in the foreground; and a philosophic teaching concerning the most important subject, which is indicated only between the lines” [Strauss 36]—is the principle of reading most closely associated with Strauss and Straussians. What Strauss describes here is the practice of “writing between the lines” by authors holding heterodox views, constrained by the prejudices of their audience or the vested interests of the regimes within which they write. The term is broadly misused by both opponents and students of Strauss’s work themselves and has helped to gain Straussians the mythopoetic status of hermetic school. The popular version of this theory [End Page 98] is that there are writers with secret teachings, and this occasionally lends itself to different kinds of scholarly deception and grandstanding.Strauss, in this passage, refers to the position of a writer in a totalitarian country. This might lead a writer or critic in a liberal, democratic country to conclude wrongly that this kind of writing would not appear in a liberal society where there is no direct suppression of freedom of speech. I wish to suggest in this article that Milton’s Areopagitica uses a form of exoteric writing, what Macaulay calls a “peculiar art,” which addresses itself not just to the dangers of suppression of thought from above, but also to the potential dangers of suppression of thought from below. In liberal regimes, de Tocqueville located the origins of the latter, the suppression of thought from below, in what he called the tyranny of the majority. One contemporary form of this is “political correctness,” an insistence that public writings and speeches be purified to conform to a particular view of what constitutes “unprejudiced” language. Geoffrey Hill has referred to these communally enforced constraints as “the thuggish stereotypes of political correctness,” a phrase which conveys the paradox of a concept which is based simultaneously on a certainty about the incapacity of writers... (shrink)

Günther Anders, Hannah Arendt, Hans Jonas, Emmanuel Levinas, Karl Làwith, Herbert Marcuse, Leo Strauss, Eric Weil... Non sans quelque paradoxe, la philosophie sociale, politique, métaphysique de l'après-guerre a été largement représentée par des penseurs allemands ou formés en Allemagne, qui avaient la particularité d'avoir été des étudiants de Martin Heidegger et d'être en même temps d'origine juive. Ce volume, issu d'un colloque international tenu à Paris en 2012, a voulu les penser ensemble pour la première fois et étudier sur quel (...) fond historique et intellectuel cette double spécificité a été possible. Quelle dette chacun d'entre eux a-t-il pu contracter à l'égard de ce maître commun et quelle distance ont-ils pu prendre (ou ne pas prendre) par rapport à lui après la Seconde Guerre mondiale? Un double questionnement qui permettra d'écrire une nouvelle page de la philosophie allemande, qui pourrait bien être aussi une page de la philosophie juive au XXe siècle. (shrink)

In an age where digital images are omnipresent, the use of participant photography in qualitative research has become accessible and commonplace. Yet, scant attention is paid to the social justice impact of photovoice amongst studies that have used this innovative method as a way to promote social justice. There is a need to review this method to understand its contributions and possibilities. This literature review of photovoice research studies (i) explores whether authors implicitly or explicitly related the methodologies to their (...) aims of promoting social justice (methodology–method fit) and (ii) outlines the social justice research impact of photovoice findings using the framework of social justice awareness, amelioration and transformation. PubMed, Scopus, PsycINFO and Web of Science databases were searched from the years 2008–13 using the following keywords: photovoice; photonovella; photovoice and social justice; and photovoice and participatory action research. Of the 30 research studies reviewed, only thirteen identified an underlying methodology guiding the photovoice method. The social justice impacts emphasized were more related to social justice awareness (n = 30) than amelioration (n = 11) or transformation (n = 3). Future researchers using photovoice as a way to promote social justice are encouraged to assess and plan for the social justice impact desired. (shrink)

À une époque où la réflexion trinitaire connaît une certaine élaboration, Eckhart souligne qu’elle est encore insuffisante. Aussi allie-t-il théorie et pratique pour expliquer que la bullitio, le bouillonnement de la vie trinitaire, compte une e bullitio qui, sur le plan anthropologique, se traduit par la naissance de Dieu dans l’âme. Ainsi articule-t-il théologie trinitaire et anthropologie et, pour mieux se faire comprendre, il présente un résumé de sa pensée dans le Poème intitulé Granum sinapis.

El artículo trata de la función de los diáconos en la Iglesia de los primeros siglos, para resaltar la relación que Agustín tuvo con ellos, así como el papel que desempeñaban en su propia Iglesia de Hipona y del Africa del Norte, siguiendo las investigaciones de Elisabeth Paoli.

This essay compares the cultural context for The Courage to Be with the present American context and then assesses the extent to which Tillich’s analysis is helpful in understanding and/or addressing current challenges to faith and life. Two aspects of culture that need to be addressed today are 1) the importance of our human bodies in how we live and in how we relate to others and 2) issues of justice and power. People still experience the anxieties of fate and (...) death, doubt and meaninglessness, and guilt and condemnation, but today there is less emphasis on guilt. For some groups, a fourth anxiety of injustice and oppression dominates. American culture today is polarized politically and religiously over basic values, with people gaining courage through belonging to particular groups much more than through the courage to be as oneself. Transcendent courage participates in the power of being-itself and grounds all forms of courage, providing a religious meaning to courage and to life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aesthetics of Asian Art:The Study of Montien Boonma in the Undergraduate Education ClassroomMary Ann Maslak (bio)John Dewey, in his Experience and Nature, expounds on the developmental nature of human experience premised on the concept of qualitative propinquity—the integration and harmonization with the environment exemplifies the essence of experience. This principal line of reasoning shapes his fundamental argument in Art as Experience, one of Dewey's most significant educational works (...) used today.1 In it he argues that the roots of experience lie in the commonplace occurrences in the course of human life. The integration of the meaning and value drawn from previous and present circumstances results in an "experience," which, in turn, constitutes a foundation of learning for the individual. Dewey's ideas are not only appropriate but also useful in the field of education. In what ways may future teachers experience art? How does the experiential process of examining art contribute to future teachers' pedagogical tools that can be used to incorporate art into the elementary school classroom?This article demonstrates how an experiential study of a work of art in an undergraduate education course—part of the St. John's University/Lincoln Center Institute for the Arts in Education (LCIAE) Higher Education Collaborative program in New York City—contributes to the pedagogical repertoire of process-based learning for teachers and their future students. The article begins by providing a theoretical background for the work, followed by the definitions of three concepts that are pertinent to this piece: aesthetic education, the experiential approach to learning, and process-based instruction.2 The article then focuses on the specific aims of the university's arts course, the LCIAE Partnership Program, and data and analyses from the process-based aesthetic learning for the students enrolled in the course. It ends with conclusions about aesthetic education. [End Page 67]Theoretical BackgroundAssuming the sociocultural nature of learning suggested by Dewey demands consideration of the layers of experience, it is necessary to discern the learners' emerging thoughts in light of various experiences. As a teacher, I subscribe to this belief and wanted to note how I could employ scaffolding practices to the aesthetic education learning experience for my undergraduate students. I aimed to accomplish this goal by scaffolding aesthetic experiences for students from their personal points of understanding, the university's classroom setting, and the context of museum exhibitions.Scaffolding instruction has a lengthy and persuasive history that provided the underpinning for my approach to the course.3 The intent of scaffolding is to help a learner undertake a task or goal that is beyond the learner's present level.4 Effective scaffolding encompasses a number of key features within cognitive and emotional domains.5 Cognitive elements include (1) selecting challenging activities for students; (2) monitoring their efforts; (3) using guiding questions to develop self-regulation; and (4) using indirect questioning strategies to extend and enhance the learning experience. Emotional support includes (1) structuring experiences to discourage frustration and encourage confidence; and (2) creating an atmosphere of comfort. While not all these features are applicable to scaffolding activities in an art education course of a university's teacher education program, I was mindful of their importance in structuring this course.Given that this course was my undergraduate students' initial exposure to aesthetic education, scaffolding served as an appropriate systematic pedagogical approach. In the words of Maxine Greene, aesthetic education is an intentional experience "designed to nurture appreciative, reflective, cultural, participatory engagements with the arts" by enabling the student to observe, analyze, and interpret meaning.6 In other words, it is the interactive study of the nature and expression of beauty. It seeks to enhance perception and affect, cognitive development, and personal growth by assuming that works of art provide an inexhaustible resource for exploration and reflection by the learner and an understanding based on the cultural context in which the artwork was created. Greene's philosophy, developed from the work of Dewey, posits that understanding a work of art is based on the active connection to and association with the piece. Therefore, the approach to its study is of the utmost importance.The experiential approach to learning is a... (shrink)

"Readers interested in feminist studies, applied ethics, or social and political philosophy should find Gendercide especially interesting and informative. Highly recommended."-CHOICE.

Cosgrove, Mary-Anne Below are 'talking points' based on an article in AH No. 121, 'AI on the Go: Notes on the current development and use of Artificial Intelligence', by Carl Mahoney. Carl is a Humanist Society of Victoria member, and was professor and Dean of the Faculty of Architecture and Building, University of Technology, Papua New Guinea.