Myra Hird and Harlan Weaver have been invited by the editors of this special issue to enter into discussion with each other – to conduct a series of interchanges – because of the careful attention their research has paid to the ways in which transness as a lived reality is ontologized in humans, non-human animals, bacteria, and viruses. With this issue’s interchanges, we would like to further the conversation on critically approaching the consequences of merging transness with animality. In (...) the following series of four essay questions, we particularly invited each of these scholars to consider moments of classificatory tension in which taxonomies of human and non-human become inflected and redirected by the categories of race, gender, sexuality, class, ability, and geopolitical location. (shrink)

In Sex, Gender and Science , Myra Hird outlines the social study of science and nature, specifically in relation to sex, sex differences, and sexuality. She examines how Western understandings of sex are based less upon understanding material sex differences than on a discourse that emphasizes sex dichotomy over sex diversity and argues for a feminist engagement with scientific debate that embraces the diversity and complexity of nature.

The extraordinary complexity of knowledge in today's world creates a paradox. On the one hand, its sheer volume and intricacy demand disciplinary specialization, even sub-specialization; innovative research or scholarship increasingly requires immersion in the details of one's disciplinary dialogue. On the other hand, that very immersion can limit innovation. Disciplinary specialization inhibits faculty from broadening their intellectual horizons - considering questions of importance outside their discipline, learning other methods for answering these questions and pondering the possible significance of other disciplines' (...) findings for their own work. This article seeks to understand more fully the factors that enhance and impede cross-disciplinary conversations and the possible longer-term effects of those conversations. Based on 46 interviews with a sample of seminar participants, it examines the experiences of faculty members who ventured (voluntarily) into multidisciplinary waters and its implications for the organization of disciplines and universities. (shrink)

Contributors to this volume are Philip Alperson, Francis Sparshott, Nicholas Wolterstorff, Edward T. Cone, Peter Kivy, Jenefer Robinson, Joseph Margolis, Arnold ...

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in (...) order to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

The American Journal of Bioethics, Volume 11, Issue 6, Page 3-4, June 2011.

Cultural ethical dilemmas occur when ethical research practices, as prescribed by the research ethics codes of Western research institutions, conflict with the cultural and social norms of non-Western researchers and their participants. Thus, insider-researchers working with participants from similar cultural backgrounds may experience ethical dilemmas that result in disconcerting cultural estrangement from their communities. Using reflexive narratives, the author identifies moments of cultural ethical dilemmas that necessitate a choice between two competing sets of values. Working out of a Western university, (...) the narratives reflect on cultural ethical dilemmas relating to non-coercion, confidentiality, and beneficence, encountered during interviews in the researcher’s community. Analyzed through the lens of Confucian social and ethical behavior, the paper asks whether there is a need for East–west polarization, or whether research ethics codes based on Western worldviews can be reconciled with Confucian worldviews. The paper suggests the “Middle Way” approach to reconciling and integrating the diverse worldviews of ethics, through the use of an ethical reflexive process that engenders trust in the research process and resolves cultural ethical dilemmas. (shrink)

In Five Fictions in Search of Truth, Myra Jehlen develops this idea through readings of works by Flaubert, James, and Nabokov.

Contemporary Anglophone philosophy of music has eschewed traditional philosophical concerns about the place of music in human affairs, concentrating instead on a more restricted domain of musical meaning related to aesthetic considerations which are ultimately tied to the concept of disinterested aesthetic experience. I argue that this emphasis needs to be supplemented by an attention to the “instrumentality” of music, understanding music in relation to questions of the social and cultural purposes that music might serve and thereby broadening the idea (...) of what it is to count as a musical practice. I illustrate how this re-orientation might proceed with reference to the case of musical improvisation. (shrink)

Recent philosophy of music in the Anglophone analytic tradition has produced many fine-grained analyses of musical practices within the context of the Western fine-art tradition. It has not for the most part, however, been self-conscious about the normative implications of that orienting tradition. As a result, the achievements of recent philosophical discussions of music have been unnecessarily constricted. The way forward is to enrich the range of musical practices philosophy takes as its target of examination.

Most instructors who teach introductory courses in aesthetics or the philosophy of arts use the visual arts as their implicit reference for "art" in general, yet until now there has been no aesthetics anthology specifically orientated to the visual arts. This text stresses conceptual and theoretical issues, first examining the very notion of "the visual arts " and then investigating philosophical questions raised by various forms, from painting, the paradigmatic form, to sculpture, photography, film, dance, kitsch, and other forms on (...) the borders of the visual arts. The selections represent both classical and contemporary views and include sections by artists, art historians, and critics as well as philosophers. A singularly important text for courses in the philosophy of arts or aesthetics, this anthology is designed to enrich the philosophical and critical examination of our beliefs about the visual arts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:194 HISTORY OF PHILOSOPHY and properly, in a consideration of Bradley, although it is a little like citing Bradley in his own behalf. In all, Mr. Saxena's book is carefully researched and judicious, selecting Bradley's chief metaphysical themes for explication and defence. As one slight criticism: Bradley's doctrine of truth is treated as coherence, which it indeed was on the level of reality; but he dealt with truth quite (...) differently in immediate experience and on the level of appearance (elaborating those levels in his Essays on Truth and Reality), and hia metaphysics would appear richer if those theories of truth were discussed and applied to their appropriate realms. It~J~ Ross Scripps College Filosofia e SLoria nel Pensiero Crociano. By Adriano Bausola. (Milano: SocietA editrici Vitae Pensiero, 1965. Pp. 280. Paper. L. 4~500.) Etica e Politica nel Pensiero dl Benedetto Croce. (Milano: SocietA editrici Vitae Pensiero, 1966. Pp. 265. Paper. L 3,500.) Theee two volumes examine respectively Croce's doctrines of the theoretic and of the practical spheres of experience and thus treat of many of the main tenets of Croce's entire philosophy. For within these spheres, Adriano Bausola critically discusses important views which occur in the areas of logic, gnoseology, theory of history, as well as in ethics, economic and political doctrine. The scope of Bausola's treatment is in accord with Croce's own approach to philosophy, since strictly speaking, neither the theoretic nor the practical sphere can be correctly understood in abstraction from the other. Moreover, in his treatment of Croce's view, Bausola frequently discusses the criticisms of other contemporary Italian Crocean critics,as for example, of Gentile, Guido Calogero and Ugo Spirito, and this method of exposition has the advantages of making Croce's own position clear and of giving us some idea of very recent Italian philosophy. According to Bausola, the essential character of Croce's philosophy is shown in his rejection of every view which admits of transcendent experience or of abstract ideas. Thus, Filosofia e Storia critically traces this rejection as it occurs throughout the theoretic sphere of experience and attempts to make explicit the "positive" Crocean doctrine which accompanies his denial of the transcendent and of the abstract. Here Bausola concludes that despite Croce's claim to the contrary, there is more than one "logical" reason for Croce's refutation of the transcendent. Among these reasons are Croce's view of the identity of subject and object, his refutation of every mediate cognitive process, of every inference, and of every experience which issupposed to be neither theoretic nor practical. Chapter i ol Filosofia c Storia discusses the foundation of Croce's philosophy which Bausola maintains should be described as "spiritualism" (spiritualismo) rather than as "idealism" (idealismo), since for Croce, reality is fundamentally "spirit" and not "pure thought." Chapters 11 and 111 treat specifically of epistemic problems, such as, the nature of philosophic or pure concepts and the judgments to which they give rise, the nature of scientific or pseudoconcepts and the relations between philosophy and science. Chapters IV and v treat of Croce's view of the nature of "the real" and of the relations between the categories---their autonomy and their unity. Here Bausola attempts to show that Croce's transcendental deduction of the four forms of experience (aesthetic, logical, economic and ethical) has failed and that his demonstration shows merely that the distinction between these forms are empirical. Chapter IV then discusses Croce's view of philosophy as history. The next three chapters present a critical analysis of Croce's doctrine of error which forms one of his most interesting contributions to philosophy. Here Bausola's task is not to consist of an explication of the central Crocean view on error, but rather of an examination of its "concrete" development and its validity. At the outset of his discussion, Bausola asks: Does error ever result from non-practical as well as from practical acts? BOOK REVIEWS 195 Does error invariably result from conscious volition? And Bausola tries to show contrary to Croce% view that there are instances of error which do not involve conscious volition, but that Croce% denial of such instances follows... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:96 HISTORY OF PHILOSOPHY La Controri]orma della Dialettica: Coscienza e storia nel neoidealismo italiano. By Francesco Valentini. (Rome: Editori Riuniti, 1966.Pp. 154.Paper, L. 1,500.) This volume consists of a re-examination of the views of Benedetto Croce and Giovanni Gentile, in the light of their respective positions in the history of philosophy. Valentini proposes that some important notions in the philosophies of Croce and Gentile ]ustify a Kantian interpretation and (...) thus constitute a counter-reformation with respect to some important assumptions in Hegel's doctrine. This proposal is especially interesting with regard to Croce, since it contradicts Croce's evaluation of his own position as representing a furtherance of the viable portions of Hegel's system, just as Hegel's system is supposed to represent a furtherance of Kant's view. Moreover, since Croce's evaluation follows from his general philosophic assumptions, Valentini's proposal attacks not only Croce's evaluation of his own position, but also his views on the nature of history and philosophy. According to Valentini, the views of Croce and Gentile agree in the abandonment of the "dogmatism" of Hegel and in a return to a transcendental philosophy which examines the conditions which make experience possible, rather than experience itself, in its concrete, historical development. (Gentile's view is supposed to be fundamentally the same as Croce's, save that Gentile's conclusions are more radical and thus, according to Valentini, more deo structive.) However, according to Valentini, this return to an examination of the nature of consciousness represents a retrogression, not only historically, but also philosophically with respect to the empirical and historical portions of Hegel's philosophy. In Chapter I of Part I, Valentini begins his discussion of Croce's notion of spirit, by stating that Croce generally professed an antitheological and antimetaphysical attitude, but that his intended resolution of the religious and theological into the mundane is not always complete. Accordingly, Valentini believes that he has discovered two prejudices which derive from this incomplete resolution: the first is supposed to be a monistic prejudice, which means the attempt to reduce all aspects of reality to the same characteristic or structure; and the second--a bias towards "inwardness", which shows preference for everything which can be reduced to the autonomous operation of consciousness. Chapter II examines Croce's view of the nature of consciousness, as well as the subjective aspects of his views of historical judgment. The relations between the forms of experience, aesthetic, conceptual and practical are discussed and criticized according to the views of modem psychology. Croce's subjectivism is supposed to lie in his notion that all history is contemporary and is formed by a kind of cognitive construction of the past. Here Valentini maintains that Italian idealism has made a "subjective correction" of Hegel's philosophy of history. Chapter IH treats of the development of Croce's views on historicism and describes his attitude as being characteristic of anti-enlightenment doctrines of the nineteenth century. Chapter IV traces what Valentini believes to be a certain ambivalence in Croce's aesthetics, that is, a vacillation between two themes which are supposed to be present throughout Croce's philosophy--the idealist theme which emphasizes the nature of consciousness and the theme of historicism. The idealist aspect can be perceived in Croce's theory of intuition and above all, in certain romantic developments of his doctrine, such as, the vindication of the character of "cosmic totality" and in the notion of the "eternality" of artistic expression. The theme of historicism can be found in some corrections which Croce made in his theory of intuition, as well as in some judgments and literary preferences, which are not completely reconcilable with his theoretical formulations. The fifth and last chapter of Part I treats of Croce's ethical doctrine and generally distinguishes between the views of Croce and Hegel on this topic. The second part of Valentini's work discusses Gentile as a philosopher of consciousness and is divided into four chapters. The topic of Chapter I is the attitude which is presupposed by the philosophy of "actual" idealism. This philosophy demands an unshakable faith in an ideal, a mission to accomplish... (shrink)

Feminist analyses have made important contributions to the sociocultural experiences of pregnancy, birth and breastfeeding. This article draws upon recent theorizing within science studies to focus on the mattering of these processes. Specifically, the article expands upon Mauss's notion of the ‘gift’, which Diprose develops through the idea of ‘corporeal generosity’. I am interested in corporeal generosity insofar as it circumvents descriptions of relationships in terms of a closed economy in which resources are exchanged without excess or remainder. Corporeal generosity (...) refers to the often missed but nevertheless inescapable debt that a body owes to other bodies. At the same time, this embodied ‘gifting’ is both unpredictable and intrusive – there is as much possibility of threatening the integrity of bodies as there is of opening new possibilities. (shrink)

Missouri, the "Show Me State," has become the epicenter of several important national public policy debates, including abortion rights, the right to choose and refuse medical treatment, and, most recently, early stem cell research. In this environment, the Center for Practical Bioethics (formerly, Midwest Bioethics Center) emerged and grew. The Center's role in these "cultural wars" is not to advocate for a particular position but to provide well researched and objective information, perspective, and advocacy for the ethical justification of policy (...) positions; and to serve as a neutral convener and provider of a public forum for discussion. In this article, the Center's work on early stem cell research is a case study through which to argue that not only the Center, but also the field of bioethics has a critical role in the politics of public health policy. (shrink)

Ten years after the publication of the special issue of Social Epistemology on feminist epistemology, this paper explores recent feminist interest in the inhuman. Feminist science studies, cultural studies, philosophy and environmental studies all build on the important work feminist epistemology has done to bring to the fore questions of feminist empiricism, situated knowledges and knowing as an intersubjective activity. Current research in feminist theory is expanding this epistemological horizon to consider the possibility of an inhuman epistemology. This paper explores (...) these developments through the subject of waste. Waste, as both an epistemological and material phenomenon, invites timely questions about possibilities for acknowledging an inhuman epistemology. These questions appear to be particularly urgent from an environmental perspective. (shrink)

_Diversity and Community: An Interdisciplinary Reader_ is a collection of essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. A collection of specially commissioned essays exploring the notion of community in its many theoretical, practical, and cultural manifestations. Discusses the idea of community in its full, cultural context. Deals with issues confronting many diverse groups, including African American, Franco-Canadian, computer-mediated, and gay and lesbian communities. Includes contributions by both eminent schlars and new voices, among them (...) Martha Nussbaum, Jean Bethke Elsthain, D.A. Masolo, Mary Hawkesworth, Lewis Gordon, Maria Lugones, Crispin Sartwell, Duane Champagne, and Frank Cunningham. (shrink)