Rising numbers of ageing prisoners and goals on implementing equivalent health care in prison raise issues surrounding end-of-life care for prisoners. The paucity of research on this topic in Europe means that the needs of older prisoners contemplating death in prison have not been established. To investigate elderly prisoners’ attitudes towards death and dying, 35 qualitative interviews with inmates aged 51 to 71 years were conducted in 12 Swiss prisons. About half of the prisoners reported having thought about dying in (...) prison, with some mentioning it in relation with suicidal thoughts and others to disease and old age. Themes identified during data analysis included general thoughts about death and dying, accounts of other prisoners’ deaths, availability of end-of-life services, contact with social relations, and wishes to die outside of prison. Study findings are discussed using Allmark’s concept of “death without indignities,” bringing forth two ethical issues: fostering autonomy and removing barriers. Attributing the identified themes to these two ethical actions clarifies the current needs of ageing prisoners in Switzerland and could be a first step towards the implementation of end-of-life services in correctional systems. (shrink)

Direct-to-consumer television advertisements for Lyrica in the United States create narratives of gendered domestic normalcy to which women with fibromyalgia are encouraged to aspire through pharmaceutical intervention. This paper unpacks images and narratives within these advertisements to demonstrate that they rely on metaphors that represent gendered expectations in order to evoke guilt and provoke a desire for what Joseph Dumit calls “health as risk reduction,” and what I argue is an attempt to show disability being erased. Following Stuart Hall’s Encoding/Decoding (...) model of communication, viewers play a role in constructing societal expectations for women with chronic pain and for themselves. (shrink)

This research presents findings from a study of gender-based differences in an ethical decision situation. The study focuses on gender as it relates to situational factors and accounting experience. The primary element of interest is how the gender of the actor (the person described in each vignette) influences the evaluation/assessment of the ethical/unethical decisions. While previous research has provided evidence of ethical differences relating to the gender of the responding subjects, limited evidence has been presented relating to situational issues that (...) may influence assessments of ethical decisions.This research uses four accounting environment vignettes to survey the responses of accountants and accounting students to the ethical/unethical nature of the actions that are taken. In addition, how likely the accountants believe they are to take the same actions is also surveyed. The subjects are a representative sample of practicing accountants in the U.S. and senior/graduate accounting majors at a state university in the southwestern United States. (shrink)

By integrating conservation of resources and social comparison perspectives, we seek to investigate how employees’ own i-deals, independently from and jointly with their coworker’s i-deals, determine their emotional exhaustion and subsequent deviant behaviors. We conducted a field study focusing on task i-deals, and used Actor–Partner Interdependence Model and polynomial regression to test the hypotheses. We found that emotional exhaustion not only mediated the negative relationship between employees’ own task i-deals and deviant behaviors, but also mediated the positive relationship between upward (...) social comparison of task i-deals and deviant behaviors. These results demonstrated the intra- and interpersonal implications of task i-deals for emotional exhaustion and subsequent deviant behaviors. The current research not only shifts the attention from a predominantly positive view on i-deals to a more balanced and nuanced view on i-deals’ implications, but also sheds light on the interpersonal nature of i-deals and the emotional exhaustion implication of upward social comparison. (shrink)

Ensuring confidentiality is the cornerstone of trust within the doctor–patient relationship. However, health care providers have an obligation to serve not only their patient’s interests but also those of potential victims and society, resulting in circumstances where confidentiality must be breached. This article describes the attitudes of mental health professionals when patients disclose past crimes unknown to the justice system. Twenty-four MHPs working in Swiss prisons were interviewed. They shared their experiences concerning confidentiality practices and attitudes towards breaching confidentiality in (...) prison. Qualitative analysis revealed that MHPs study different factors before deciding whether a past crime should be disclosed, including: the type of therapy the prisoner-patient was seeking, the type of crime that is revealed, and the danger posed by the prisoner-patient. Based on this study’s findings, risk assessment of dangerousness was one of the most important factors determining disclosures of past crimes, taking into consideration both the type of therapy and the crime involved. Attitudes of MHPs varied with regard to confidentiality rules and when to breach confidentiality, and there was thus a lack of consensus as to when and whether past crimes should be reported. Hence, legal and ethical requirements concerning confidentiality breaches must be made clear and known to physicians in order to guide them with difficult cases. (shrink)

Abstract The leadership of the black community is concerned with welfare, with equality, with unemployment, with discrimination, with racism, with the pay gap, and with dozens of other such traditional issues. Oh, yes, they are also apprehensive about the use of addictive drugs. But, as we speak, young male members of this community are being incarcerated at frightful rates, and, even worse, are killing each other to boot. One would think that this latter issue would occupy the interest of black (...) leaders front and center. After all, there are few worse problems than being jailed or killed. The present paper is dedicated to making the case that the black leadership has its priorities all wrong; that if they were to exercise true leadership, they would see the jailing and murder of young black men as perhaps the greatest threat to their community; and, if so, they would fervently support the legalization of all drugs. (shrink)

Nurses have moral obligations incurred by membership in the profession to participate knowingly in health policy advocacy. Many barriers have historically hindered nurses from realizing their potential to advance health policy. The contemporary political context sets additional challenges to policy work due to polarization and conflict. Nursing education can help nurses recognize their role in advancing health through political advocacy in a manner that is consistent with disciplinary knowledge and ethical responsibilities. In this paper, the authors describe an exemplar of (...) Elizabeth Barrett's “Power as Knowing Participation in Change” theory as a disciplinary lens within a doctoral nursing health policy course. Barrett (radically) emphasizes “power as freedom” instead of “power as control.” This approach is congruent with nursing disciplinary values and enhances awareness of personal freedom and building collaborative relationships in the policy process. The theory was used in concert with other traditional policy content and frameworks from nursing and other disciplines. We discuss the role of nursing ethics viewed as professional responsibility for policy action, an overview of Barrett's theory, and the design of the course. Four student reflections on how the course influenced their thinking about policy advocacy are included. While not specific to policymaking, Barrett's theory provides a disciplinary grounding to increase students' awareness of freedom and choices in political advocacy participation. Our experience suggests that Barrett's work can be fruitful for enhancing nurses' awareness of choices to participate in change across settings. (shrink)

Genetically modified cassava is currently being developed to address problems of diseases that threaten the food security of farmers in developing countries. The technologies are aimed at smallholder farmers, in hopes of reducing the vulnerability of cassava production to these diseases. In this paper we examine barriers to farmers’ voice in the development of GM cassava. We also examine the role of a translational research process to enhance farmers’ voice, to understand the sources of vulnerability farmers in a group in (...) Kenya’s Coast face, and to determine if their concerns are consistent with those of the scientists in agriculture addressing farmers’ needs. A two-way communication participatory process provided insights into the complex vulnerability context of farmers, their primary concerns with processing and markets of cassava in order to improve livelihoods, the lack of networks with two way communication flows, and the lack of information on GM technologies. The translational research engaged farmers and scientists in an iterative process where scientists are learning what farmers need, and farmers are learning about the potential benefits and risks from GM technologies, while at the same time expressing their concerns. (shrink)

This study presents the manifestations of irrational practices in recent Romanian politics. Providing a short history of the mystical and the occult in Romanian politics, this research uses as a case study the alleged use of the occult “violet flame” in the presidential campaign of 2009. By showing how public religiousness and the daily mystical practices are changing, the author is describing the transformations of the national political communication under the pressure of the news media, which are becoming more (...) and more pervasive to the occult discourses and the magical thinking. The author describes these transformations as part of the general transformations of the political imaginary inRomania. The Romanian public psyche belongs more and more to the culture of infotainment, a culture based on cultivating superficiality, where mystical and simplistic thinking have replaced the traditional processes of public exchange of reasonable ideas. Thus a main trait of this video-pathology in which the Romanian media is engulfed, is the substitution of the rational discourses with the superficial understanding of the world and supernatural explanations about the universe. One of the conclusions is that the manifestations and functions of the irrational in the Romanian political sphere have become more innocuously connected with a deep mysticism already in place, and are profoundly changing the society as a whole. (shrink)

Servius was surely not the first to show discomfort with Vergil's choice of the word violaverit. Observing that the simile in lines 67–8 derives from Homer , he seems to be apologizing for Vergil when he explains that the poet's violaverit translates Homer's νινη. And discomfort there should be. The notion of ‘tainting, spoiling, damaging, defiling’ that violare should carry seems out of place both for the ivory-image and for the picture of the beautiful girl. Modern commentators have been no (...) less troubled than Servius. Unwilling, however, to see Vergil as blindly enslaved to Homer, they have offered another explanation: violare here is tied to the violentia of her lover Turnus. ‘Vergil connects the violentia of Turnus with the staining of the ivory in the simile used to describe Lavinia's blush.’ should like to add a third explanation for Vergil's choice of violare. (shrink)

Although the color violet is now used in a wide variety of everyday products, ranging from toys to clothing to cars, and although it now appears commonly in artistic works, violet was rarely used in fine art before the early 1860s. The color violet only became an integral part of modern culture and life with the rise of the French Impressionists. I investigated the use of violet in over 130,000 artworks prior to 1863 and found that (...) it appeared in about.06 percent of the paintings. Violet was used substantially more frequently in Impressionist works, and remains popular in fine art and in popular culture today. I examine several explanations for the explosion of the use of violet in the art world during the Impressionist era, and conclude that a cognitive-perceptual explanation, based on the heightened sensitivity of the Impressionists to short wavelengths, may account for it. The findings fit with a new understanding about evolutionary changes in planetary light and human adaptation to light. (shrink)

The notion of affective memory was first introduced by Théodule Ribot (1894), giving rise to a debate about its existence at the beginning of the 20th century. Although Vernon Lee did not directly take part in this discussion, she conceptualized this notion in a quite precise way, mainly in her book Music and Its Lovers (1932), clarifying the sometimes obscure formulations made by previous authors. In this short encyclopedic entry, I present Lee's characterization of affective memory.

The relationship between music and memory is mainly developed in Music and Its Lovers (1932), a book where Lee presents interesting psychological and philosophical insights from the analysis of the responses made by 150 people to a questionnaire about the “expressive and emotional powers of music”. In this short encyclopedic entry, I present Lee's analysis of the many different ways in which musical experience depends on memory.

The medieval motet arose around 1200 with the addition of texts to clausulae, which were polyphonic pieces of two or three parts constructed upon tenors drawn from the melismas of liturgical chants. The upper voices of three-part motets were usually given different texts. According to the traditional account, religious motets with Latin texts came first, followed soon by secular motets with French texts and bilingual double motets, but this chronological sequence has recently been called into question. There is no clear (...) evidence that French motets arose later than Latin ones, and much to suggest that French motets flourished from the beginning. In the Latin motets the texts of the upper part or parts are almost always tropes of the chant tenors. They often incorporate words from the original chants and elaborate on their meaning, just as tropes of Kyries, Alleluias, and other monophonic chants had done. The French texts, on the other hand, are pastourelles, courtly love poems, or other genres of secular poetry similar to those found in the troubadour and trouvère repertory. French motets are thus thought to be unrelated to the chant tenors upon which they are based. The fragment of chant that serves as the tenor of a French motet is seen as merely a compositional device. Its origin as part of a larger melody and text and its connection with the liturgy are irrelevant. (shrink)

1. The “puzzle” Physical objects are coloured: roses are red, violets are blue, and so forth. In particular, physical objects have fine-grained shades of colour: a certain chip, we can suppose, is true blue (unique, or pure blue). The following sort of scenario is commonplace. The chip looks true blue to John; in the same (ordinary) viewing conditions it looks (slightly) greenish-blue to Jane. Both John and Jane are “normal” perceivers. Now, nothing can be both true blue and greenish-blue; since (...) the chip is true blue, it is not greenish-blue. Hence Jane, unlike John, is misperceiving the chip. Generalizing, the conclusion is that there is widespread misperception of fine-grained shades. According to Tye (2006), and Cohen, Hardin, and McLaughlin (2006), the previous paragraph amounts to a paradox: an apparently unacceptable conclusion has been drawn from apparently acceptable premises via apparently acceptable reasoning. (See also Hawthorne and Kovakovich 2006, 180-1.) Tye swallows the conclusion, aided by a dose of evolutionary speculation. Hardin (1988), on the other hand, rejects the first premise, and denies that physical objects are coloured. Cohen (2004) and McLaughlin (2003) claim that both Jane and John have the colour of the chip right. Our opening paragraph concealed a crucial parameter. In fact, the chip looks greenish-blue-relative-to- circumstances-C to Jane, and true-blue-relative-to-circumstances-C* to John, and the chip has both these relativized colours.1 All this ingenious philosophizing would be in vain, of course, if the conclusion of the opening paragraph were not puzzling or problematic. So, why is it supposed to be? According to Tye, the conclusion is puzzling because John and Jane are both “normal perceivers” (xx). He seems to think that it is (prima facie) plausible to assume.. (shrink)

If we imagine a chess-board with alternate blue and red squares, then this is something in which the individual red and blue areas allow themselves to be distinguished from each other in juxtaposition, and something similar holds also if we imagine each of the squares divided into four smaller squares also alternating between these two colours. If, however, we were to continue with such divisions until we had exceeded the boundary of noticeability for the individual small squares which result, then (...) it would no longer be possible to apprehend the individual red and blue areas in their respective positions. But would we then see nothing at all? Not in the least; rather we would see the whole chessboard as violet, i.e. apprehend it as something that participates simultaneously in red and blue. (shrink)

Does this Bonnes-Mares really have notes of chocolate, truffle, violets, and merde de cheval? Can wines really be feminine, profound, pretentious, or cheeky? Can they express emotion or terroir? Do the judgements of 'experts' have any objective validity? Is a great wine a work of art? Questions like these will have been entertained by anyone who has ever puzzled over the tasting notes of a wine writer, or been baffled by the response of a sommelier to an innocent question. Only (...) recently, however, have they received the serious philosophical attention they deserve. Touching on issues in metaphysics, epistemology, the philosophy of mind, and aesthetics, this book provides a clear and engaging discussion of the philosophical significance of wine that will be accessible to all wine lovers, specialists and non-specialists alike. The author offers throughout a sustained defence of the objectivity of wine judgements, a demystification of the nature of expertise, and a theory of the aesthetic value of wine and its appreciation. (shrink)

This paper analyzes the concept of truth in terms of an account of Fregean sense as cognitive value. The account highlights the importance of understanding-based knowledge of co-reference for the individuation of senses. Explicit truth attributions, like ‘that I smell the scent of violets is true’ involve an inter-level version of understanding-based knowledge of co-reference in the that-clause concepts of thoughts that they employ: one cannot understand the that-clause concept of the thought in the truth attribution without understanding the thought (...) the that-clause concept is a concept of. This is not a redundancy that eliminates or deflates cognitive value, but an exploitation, by the concept of truth, of the inter-level version of understanding-based knowledge of co-reference in critical reflective thinking. The cognitive value of the concept of truth is to combine semantically with explicit ways of thinking of thoughts to make critical reflective thinking possible. This account of the cognitive value of the concept of truth assigns cognitive value not by construing the concept of truth as a way of thinking about some thing, but by articulating its broader cognitive role. (shrink)

_A unique philosophical look at the hit television series _Downton Abbey_ _ Who can resist the lure of _Downton Abbey_ and the triumphs and travails of the Crawley family and its servants? We admire Bates's sense of honor, envy Carson's steadfastness, and thrill to Violet's caustic wit. _Downton Abbey and Philosophy_ draws on some of history's most profound philosophical minds to delve deeply into the dilemmas that confront our favorite characters. Was Matthew right to push Mary away after his (...) injury in the war? Would Lord Grantham have been justified in blocking Lady Sybil's marriage to Tom Branson? And is Thomas really such a bad person? Offers fresh and intriguing insights into your favorite _Downton Abbey_ characters, plot lines, and ideas Addresses many of your most pressing questions about _Downton Abbey's_ story and characters, such as: Should Daisy have lied to William about her feelings toward him—especially to the point of marrying him? Should Mr. Bates have been upfront with Anna from the beginning about his past? Views _Downton Abbey_ through the lens of some of the most influential philosophical thinkers, from Saint Augustine and David Hume to Immanuel Kant and John Stuart Mill Ventures upstairs _and_ downstairs to examine key themes involving ethics, virtue, morality, class, feminism, the human condition, and more Philosophical speculation awaits on every page of this essential _Downton Abbey_ companion. So take a seat in your personal library, have the butler pour a cup of tea, and start reading! (shrink)

Vernon Lee was the pseudonym of the British writer Violet Paget (1856-1935). She is known mostly for her supernatural fiction. She also wrote essays and poetry. She contributed to The Yellow Book and was a follower of Walter Pater. Her literary works explored the themes of haunting and possession. She was responsible for introducing the concept of empathy into the English language. Empathy was a key concept in Lee's psychological aesthetics which she developed on the basis of prior work (...) by Theodor Lipps. Her response to aesthetics interpreted art as a mental and corporeal experience. This was a significant contribution to the philosophy of art which has been largely neglected. Additionally she wrote, along with her friend and colleague Henry James, critically about the relationship between the writer and his/her audience pioneering the concept of criticism and expanding the idea of critical assessment among all the arts as relating to an audience's (or her personal) response. She was a strong proponent of the Aesthetic movement. Among her famous works are: A Phantom Lover (1890), Hauntings (1890) and Art and Life (1896). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Open Letter to the Enemy:Jean Genet's Holy WarSteven Miller (bio)J.G. seeks, or is searching for, or would like to discover, never to uncover him, the delicious enemy, quite disarmed, whose equilibrium is unstable, profile uncertain, face inadmissible, the enemy broken by a breath of air, the already humiliated slave, ready to throw himself out the window at the least sign, the defeated enemy: blind, deaf, mute. With no arms, (...) no legs, no stomach, no heart, no sex, no head, all told a complete enemy, already bearing all the marks of my bestiality that now need never be used (too lazy anyway). I want the total enemy, with immeasurable and spontaneous hatred for me, but also the subjugated enemy, defeated by me before he even knows me. Not to be reconciled with me, in any case. No friends. Above all, no friends: a declared enemy, but not a tortured one. Clean, faultless. What are his colors? From a green as tender as a cherry to an effervescent violet. His size? Between the two of us, he presents himself to me man to man. No friends. I seek an inadequate enemy, one who comes to capitulate. I will come at him with all that I can muster: whacks, slaps, kicks, I will feed him to starving foxes, make him eat English food, attend the House of Lords, be received at Buckingham Palace, fuck Prince Phillip, and be fucked by him, live for a month in London, dress like me, sleep in place of me, live in place of me: I seek the declared enemy.This brief text was not published until 1991. It was almost published in 1975 in a book of homages to William Burroughs and Brion Gysin, and was to have been preceded with the following explanation of its origins, written by Gysin:In Tangiers in 1970, Jean Genet asked me what ever happened to the English underground newspaper The International Times. When I responded that the editors were having trouble with the law in England because of the newspaper's ads for "special friendships" [amitiés particulières], he exclaimed: "Why friends? Personally, I am looking for a suitable enemy [un ennemi à ma taille]." He then wrote the following text...[qtd. in Genet, ED 9]Hence the anecdotal reason for the form of the personal advertisement. In 1991 the text was published—according to Genet's wishes—as the first page of the posthumous collection of his political writings and interviews, L'ennemi déclaré.1 Such a placement demands more than an anecdotal explanation. What is a personal ad doing as the preface to a collection of political writings? Albert Dichy, the editor of the collection, notes that this text has the status of an exception: "the text that opens the collection does not belong to the group of writings that make up the book as a whole" [ED 331]. Each of the other texts emerges from Genet's involvement in specific political events (the [End Page 85] 1968 Chicago Democratic National Convention, the Chatila massacre) or with named political figures and groups (the Palestinians, the Black Panthers, the Baader-Meinhof group, George Jackson, Angela Davis), whereas the form of the ad that he wrote for Gysin seems to number it among his literary works. Nonetheless, this eccentric text remains the first in the collection—"en tête de l'ouvrage," is Dichy's phrase—and gives the book its title. Rather than serving as an introduction to the other texts, this text, by virtue of its exceptional form, is a challenge addressed directly to the public. Dichy himself is the first to accept this challenge. His editorial notice passes quickly from anecdote to interpretation:The fact that Genet wished to see the publication of his political articles preceded by this precise text has an unavoidable impact, not only on the identity of the author, now partially assimilable to a fictional character ("J.G. cherche, ou recherche..."), but also on the way in which we read the different texts in the collection, now that we have been given the general tone and the note of secrecy.[ED 331]These suggestions are apt enough... (shrink)

Since the epithet ίόκολπος („with a violet breast“) is attested not only, as is commonly believed, in Sappho’s lyrics, but also in an inscription of Athenian Artemis Agrotera’s altar (IG II (2), № 4573), we can better understand the religious outlook of the poetess as well as the working of the Sapphic guild on Lesbos. A comprehensive analysis of the sources allows us to conclude, that the poetess probably was a priestess of Artemis Agrotera as well as of Artemis (...) Thermia, who was an ancient aquatic divinity of the island. We argue that the poetess had performed songs in a festival of this divinity (Θερμιακή πανάγυρις) and that the cult of Artemis in the thiasos of Sappho experienced strong Lydian influence during the life of the poetess. In addition Sappho was linked with Artemis by other varied ties of sacred service. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:February 19, 2011 (11:48 am) E:\CPBR\RUSSJOUR\TYPE3002\russell 30,2 040 red.wpd Reviews 179 THE EARLY “IRON CURTAIN” Michael D. Stevenson Schulich School of Business, York U. / Russell Research Centre, McMaster U. Toronto, on m3j 1p3 / Hamilton, on l8s 4l6, Canada [email protected] Patrick Wright. Iron Curtain: from Stage to Cold War. Oxford: Oxford U. P., 2007. Pp. xvii, 488. isbn 978-0-19-923150-8. £18.99 (hb); £12.99 (pb). In his famous Westminster College (...) address on 5 March 1946 in Fulton, Missouri, Winston Churchill Wred one of the opening salvos of the Cold War by proclaiming that from “Stettin in the Baltic to Trieste in the Adriatic an iron curtain” had been lowered across Europe. Patrick Wright’s intriguing and provocative book does not examine the phrase “iron curtain” in its popular Cold War context. Instead, he maintains that many characteristics of this metaphor, “including the pronounced sense of theatricality it would bring to international politics, were inherited from the period before the Second World War” (p. 18). Wright divides Iron Curtain into two primary chronological sections, the Wrst covering the period from 1914 to 1920. An iron curtain originally referred to the steel safety screen that descended in English theatres, beginning in the lateeighteenth century, to separate the audience from the often catastrophic Wres that broke out on the stage. The phrase entered the lexicon of international relations in January 1915 when British author and paciWst Violet Page (writing under the pseudonym Vernon Lee) published an article lamenting that “War’s cruelties and recriminations, War’s monstrous iron curtain” (p. 80) had alienated European nations such as England and Germany sharing a common cultural heritage. But the barrier quickly moved east in the aftermath of the 1917 Russian Revolution and “took the form not just of exaggerated political rhetoric, but of an economic blockade enforced by naval power” (p. 171), as the Allies sought to contain the infection of Bolshevism. Wright devotes most attention in this section to documenting the 1920 visit to Russia by the British delegation jointly sponsored by the Trades Union Congress and the Labour Party, which sought to penetrate the dense fog of Allied anti-Bolshevik propaganda and validate the delegation members’ own preconceived views about the nascent socialist utopia in Russia. British delegates witnessed images both of progress carefully stagemanaged by their hosts and of terrible economic dislocation and poverty caused by the Allied blockade and the civil war, which allowed the majority of them to return home to lavish praise on the Soviet experiment that would, in their minds, inevitably fulWl its potential once the Bolshevik government became stable. February 19, 2011 (11:48 am) E:\CPBR\RUSSJOUR\TYPE3002\russell 30,2 040 red.wpd 180 Reviews 1 “The Future of Europe”, European AVairsz 1, no. 1 (April 1949): 3. The second section of Wright’s book examines Western reports of life behind the iron curtain between 1920 and 1939. Here, the author focuses heavily on the theatrical nature of Soviet attempts to create modern-day Potemkin villages that werez—zwith a limited number of exceptionsz—zaccepted as reality by an endless parade of left-wing visitors. A second British Trades Union Congress delegation in 1924, for example, received a dramatically embellished picture of Soviet economic progress that included a train journey past a long-abandoned factory belching smoke created by burning wet straw frantically provided by Russian peasants; the resulting report of the delegation “repeatedly collapsed into the most abject conformity with the Soviet view of reality” (p. 245). The most tragic examples of Western visitors’ blindness to the truth occurred during the 1930s famine deliberately induced by Stalin, and Wright exposes a wide cast of characters who adopted a blinkered view of conditions in the ussr. Among intellectuals, Wright documents the 1931 visit of George Bernard Shaw, who cavalierly dismissed reports of widespread food shortages while dining sumptuously in Moscow’s Hotel Metropole. Among journalists, Wright develops the case of Walter Duranty, the New York Timesz correspondent who knuckled under to demands of Soviet censors to produce sanitized accounts denying or ignoring the famine in order to protect his privileged place in that... (shrink)

Berlin & Kay hue-related basic color categories are compared with the ISCC-NBS system of object color categorization. Though independently derived, categories of the former form a small subset of the latter. A conjecture is proposed that explains the absence of yellow-green and blue-green basic hue categories and the potential for a violet category as the result of constraints on primitive hue category formation due to considerable variation in stimuli selected by color-normal observers as representing for them unique hues.

We discuss two modal claims about the phenomenal structure of color experiences: (i) violet experiences are necessarily experiences of a color that is for the subject on that occasion phenomenally composed of red and blue (the modal claim about violet) and (ii) no subject can possibly have an experience of a color that is for it then phenomenally composed of red and green (the modal claim about reddish green). The modal claim about reddish green is undermined by empirical (...) results. We discuss whether these empirical results cast doubt on the other modal claims as well. We argue that this not the case. Our argument is based on the thesis that the best argument for the modal claim about violet is quite different from the best argument for the modal claim about reddish green. To argue for this disanalogy we propose a reconstruction of the best available justification for both claims. (shrink)