Echoing Beardsley's trinity of unity, complexity, and intensity, Perkins develops three interrelated criteria on which to base an evaluation of film: credibility, coherence, and significance. I assess whether Perkins criteria of credibility serves as a useful standard for film criticism. Most of the effort will be devoted to charitably reconstructing the notion of credibility by bringing together some of Perkins' particular comments. Then I will briefly examine whether Perkins has successfully achieved his goal of developing standards (...) of judgment by holding credibility up to his own criteria of successful meta-criticism: "The clarification of standards should help to develop the disciplines of criticism without seeking to lay obligations on the film-maker" (p. 59). Although I argue that Perkins fails to achieve his goal, his criterion of credibility remains a useful mechanism for evaluating artistic attempts to achieve a particular end, namely spectator immersion. A limited domain of application for his criteria might seem to leave us with little more than an idiosyncratic expression of his classicist artistic taste, but Film as Film also contains valuable insights relevant to the so called "problem of imaginative resistance.". (shrink)

Recent work by Ian Aitken and others has sought to re-establish a "Realist approach" to the documentary film in reaction to the postmodernist, pragmatist approach popular in the 1970s and 80s. The Saussurian/Lacanian orientation o f the semiotics that played a large role in the older film theory is rejected and replaced by an analytic theory of representation based on the work of Mary Hesse, Hilary Putnam and W.V.O. Quine. Although this may seem a setback vis-a-vis semiotics, it actually opens (...) up Realist Film Theory to an application o f the doctrine of signs more closely aligned to traditional realism, that of Pierce and Poinsot. This presentation outlines how Realist Film Theory can be enriched and developed by such an application. In particular, Aitken's model for the processing of the truth-value communicated through a documentary film can be strengthened in this manner. We will look at a short filmic example to illustrate the resulting development of the theory, manifesting how the documentary film is anchored in both reliablyrepresenting reality and creatively organizing and construing it. (shrink)

OBJECTIVES: To investigate the need for hospital clinical ethics committees by studying the frequency with which ethical dilemmas arose, the perceived adequacy of the process of their resolution, and the teaching and training of staff in medical ethics. DESIGN: Interviews with individuals and three multidisciplinary teams; questionnaire to randomly selected individuals. SETTING: Two major London children's hospitals. RESULTS: Ethical dilemmas arose frequently but were resolved in a relatively unstructured fashion. Ethical concerns included: the validity of consent for investigations and treatment; (...) lack of children's involvement in consent; initiation of heroic or futile treatments; resource allocation. Staff expressed the need for a forum which would provide consultation on ethical issues, develop guidelines for good ethical practice, undertake teaching and training, and provide ethical reflection outside the acute clinical setting. CONCLUSION: Multidisciplinary, accountable and audited clinical ethics committees with predominantly advisory, practice development and educational roles could provide a valuable contribution to UK clinical practice and perhaps in other countries that have not developed hospital clinical ethics committees. (shrink)

In the contemporary spiritual and moral situation, a question reverberates—sometimes obscurely, sometimes more distinctly—which may be phrased as follows: Will each of the nations of the world perform its singular part in the symphony of human history, or will unison, pale uniformity, the impotence of mankind's cultural forces prevail? This question, put bluntly, leaves no room for dubious speculations, since uniqueness is an inseparable component of the values that are currently being affirmed as universal human values in the contemporary consciousness. (...) But the concrete realities of the world situation are such that they inevitably make the task of preserving this uniqueness extremely complicated. Hence, a self-awareness of one's own specific nature remains relevant. That awareness cannot, of course, establish itself without turning to history, without an in-depth development of the conception of the cultural-historical process that would answer the questions of the place and the tasks of a particular community within the universal whole. (shrink)

1. The characterization of Hegel's teaching as dialectical is usually associated with a critique of the logic that preceded his and that was dominant in his time: that of the Wolffians and, in particular, of Kant and the Kantians. All in all, to characterize Hegel's teaching in this way is entirely in accord with the facts. However, when stated in so general a form, it leaves much unclarified and undoubtedly demands further concreteness. The article we offer here for the reader's (...) consideration is an attempt at a concretization of this order. Central to this matter is the question of formal thinking: did Hegel accept the rights of formal thinking, and, if so, to what degree? (shrink)

Chastʹ I. Ėsteticheskie uchenii︠a︡ filosofov antichnogo mira -- Chastʹ II. Iskusstvo v suzhdenni︠a︡kh pisateleĭ antichnogo mira.