Psychiatric research is of critical importance in improving the care of persons with mental illness. Yet it may also raise difficult ethical issues. This article explores those issues in the context of a particular kind of research: psychosocial intervention research with control groups. We discuss 4 broad categories of ethical issues: consent, confidentiality, boundary violations, and risk-benefit issues. We believe that, despite the potential difficulties, psychosocial intervention research is vital and can be accomplished in an ethical manner. Further discussion and (...) research into these issues are warranted. (shrink)

Wisdom is a multi-component trait that is important for mental health and well-being. In this study, we sought to understand gender differences in relative strengths in wisdom. A total of 659 individuals aged 27–103 years completed surveys including the 3-Dimensional Wisdom Scale and the San Diego Wisdom Scale. Analyses assessed gender differences in wisdom and gender’s moderating effect on the relationship between wisdom and associated constructs including depression, loneliness, well-being, optimism, and resilience. Women scored higher on average on the 3D-WS (...) but not on the SD-WISE. Women scored higher on compassion-related domains and on SD-WISE Self-Reflection. Men scored higher on cognitive-related domains and on SD-WISE Emotion Regulation. There was no impact of gender on the relationships between wisdom and associated constructs. Women and men have different relative strengths in wisdom, likely driven by sociocultural and biological factors. Tailoring wisdom interventions to individuals based on their profiles is an important next step. (shrink)

This book takes us far beyond the usual focus of comparative law with analysis of a broad range of jurisdictions, including mixtures of common and civil law, and also those mixing Islamic and/or traditional legal systems with those derived from common and/or civil law traditions. The discussion is situated within the broader context of the continuing tides of globalization, the emergence of Islamic governments in some parts of the Middle East, the calls for a legal status for Islamic law in (...) some European countries, and the increasing focus on traditional and customary norms of governance in post-colonial contexts. (shrink)

Is the societal-level of analysis sufficient today to understand the values of those in the global workforce? Or are individual-level analyses more appropriate for assessing the influence of values on ethical behaviors across country workforces? Using multi-level analyses for a 48-society sample, we test the utility of both the societal-level and individual-level dimensions of collectivism and individualism values for predicting ethical behaviors of business professionals. Our values-based behavioral analysis indicates that values at the individual-level make a more significant contribution to (...) explaining variance in ethical behaviors than do values at the societal-level. Implicitly, our findings question the soundness of using societal-level values measures. Implications for international business research are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept of virtuosity which (...) plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

In September 2009, the First Circuit Court of Appeals decided Blue Cross & Blue Shield v. AstraZeneca Pharmaceuticals LP, part of the class action suit known as In re Pharmaceutical Industry Average Wholesale Price Litigation. The First Circuit upheld a Massachusetts District Court finding that AstraZeneca violated Massachusetts’ consumer protection laws by manipulating the “average wholesale price” of its physician-administered injectable cancer drug Zoladex, leading to overpayment by the government, third-party payers, and consumers. This case, which highlights the persistent tension (...) between pharmaceutical pricing flexibility and consumer protection, has important implications for similar pending class actions.Between 1991 and 2003, Medicare, as well as many private insurance companies, pegged reimbursement for certain pharmaceutical products to a national “average wholesale price” for each drug. Although the amended 1991 Medicare Part B regulations3 that introduced the term “average wholesale price” failed to define it explicitly, there is some indication in the legislative history that AWP was intended to refer to the prices that physicians and pharmacists actually pay to the drug manufacturers. (shrink)

In September 2009, the First Circuit Court of Appeals decided Blue Cross & Blue Shield v. AstraZeneca Pharmaceuticals LP, part of the class action suit known as In re Pharmaceutical Industry Average Wholesale Price Litigation. The First Circuit upheld a Massachusetts District Court finding that AstraZeneca violated Massachusetts’ consumer protection laws by manipulating the “average wholesale price” of its physician-administered injectable cancer drug Zoladex, leading to overpayment by the government, third-party payers, and consumers. This case, which highlights the persistent tension (...) between pharmaceutical pricing flexibility and consumer protection, has important implications for similar pending class actions.Between 1991 and 2003, Medicare, as well as many private insurance companies, pegged reimbursement for certain pharmaceutical products to a national “average wholesale price” for each drug. Although the amended 1991 Medicare Part B regulations3 that introduced the term “average wholesale price” failed to define it explicitly, there is some indication in the legislative history that AWP was intended to refer to the prices that physicians and pharmacists actually pay to the drug manufacturers. (shrink)

Today’s film scholars draw from a dizzying range of theoretical perspectives—they’re just as likely to cite philosopher Gilles Deleuze as they are to quote classic film theorist André Bazin. To students first encountering them, these theoretical lenses for viewing film can seem exhilarating, but also overwhelming. _Thinking in the Dark _introduces readers to twenty-one key theorists whose work has made a great impact on film scholarship today, including Rudolf Arnheim, Sergei Eisenstein, Michel Foucault, Siegfried Kracauer, and Judith Butler. Rather than (...) just discussing each theorist’s ideas in the abstract, the book shows how those concepts might be applied when interpreting specific films by including an analysis of both a classic film and a contemporary one. It thus demonstrates how theory can help us better appreciate films from all eras and genres: from _Hugo _to_ Vertigo_, from _City Lights _to _Sunset Blvd._, and from _Young Mr. Lincoln_ to _A.I. _and _Wall-E_. The volume’s contributors are all experts on their chosen theorist’s work and, furthermore, are skilled at explaining that thinker’s key ideas and terms to readers who are not yet familiar with them. _Thinking in the Dark _is not only a valuable resource for teachers and students of film, it’s also a fun read, one that teaches us all how to view familiar films through new eyes. Theorists examined in this volume are: Rudolf Arnheim, Béla Balázs, Roland Barthes, André Bazin, Walter Benjamin, Judith Butler, Stanley Cavell, Michel Chion, Gilles Deleuze, Jean Douchet, Sergei Eisenstein, Jean Epstein, Michel Foucault, Siegfried Kracauer, Jacques Lacan, Vachel Lindsay, Christian Metz, Hugo Münsterberg, V. F. Perkins, Jacques Rancière, and Jean Rouch. (shrink)

This bibliography, though not "complete," is nonetheless extensive. With respect to editions, translations and secondary literature appearing after 1900 it is virtually complete in several languages. It also includes the important editions and translations from the nineteenth century as well as a good deal of the philosophical and philological literature on the dialogue from that period. The works which have been cited fall into five main sections: I) Editions and Translations; II) Discussions devoted to a Comprehensive Interpretation of the Cratylus; (...) III) Special Topics; IV) Historical Sources; and V) Other Secondary Literature which discusses the Cratylus only in Passing. Section III, "Special Topics," includes these subsections: a) Names vis-a-vis Knowledge and Reality; b) Truth and Falsity; c) The Etymologies; d) The Alphabet, Orthography, Onomatopoeia and Mimesis; e) The Personae: Cratylus and Hermogenes; f) Date of the Cratylus; g) Other Philological and Textual Issues; h) Miscellaneous Topics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Charm and Speed: Virtuosity in the Performing ArtsAnthony J. PalmerV. A. Howard, Charm and Speed: Virtuosity in the Performing Arts (New York: Peter Lang, 2008)There may be one other book on virtuosity, but nothing that approaches the depth of argument put forth by V. A. Howard in Charm and Speed. As the author states, “[t]his book offers an interpretation, analysis, and reconstruction of the concept of virtuosity which (...) plays so prominent a role in historical, critical, and theoretical discussions of artistic performance.”1 The book is not an easy read, however, because of Howard’s customarily esoteric vocabulary. While the writing is in fine style, there are too many occasions where the reader may be hampered by having to pause to reconsider what was stated, especially in some of the longer sentences, or because a dictionary consultation is warranted.Nevertheless, this is a must-read for voice and instrumental students and their teachers, coaches, and accompanists. Moreover, this book is a must-read for anyone working with performing artists; Howard covers the performance arts broadly, including theatre and dance as well. If you only surmise what virtuosity is, you will become intimately aware of its meaning and all its ramifications.Its casual use suggests that virtuosity can be found everywhere, from auto mechanics to baristas and even include, as Howard describes, cheetahs on the hunt and the kill. And although the cheetah is perfectly suited to find food to feed her [End Page 101] cubs, the intentional development of techniques and a conscious plan to attack her prey is questionable; she acts out of instinct. We can admire various manifestations of excellence, but their qualities do not measure up to the characteristics of virtuosity. Excellence in execution is not by such virtue virtuosic.The fact is performance in the arts requires a special understanding of virtuosity that must be narrowly applied under appropriate conditions. The ten chapters comprising the book deal with every facet of virtuosity in performance and clarify the issues forcefully and accurately. Charm and Speed is a brief treatise of only 134 pages, plus notes and a 3-page appendix. But in those chapters lie explanations to which most professional performers, teachers, and subsidiary personnel may need to give serious consideration. On the other end of the spectrum, for those who may require a less than keenly argued thesis, how much does one really need to know about virtuosity to enjoy fine, but lesser, performance? Some differences do need to be noted, however, and confusing virtuosity with other artistic appellations could be eliminated.At the outset, virtuosity can easily be confused with creativity, but the latter is more general while “a judgment of virtuosity is necessarily grounded in the observables of execution.”2 Howard’s outline of the conditions of virtuosity is carried throughout the discussion. Three parts comprise any consideration: 1) the performing individual or group “inclusive of training and manifest talent,” judged by experts; 2) the domain of the performance—acting, dancing, and playing the violin—must be specified; and 3) the audience comprised of a general audience and “critics, colleagues, and institutions” must render appropriate judgment.3 Virtuosity is not a single state but requires both process and achievement.Howard narrows his discussion on virtuosity to those in the performing arts, “to those who play instruments, or sing or act, dance or conduct,”4 with no other reason or intention but to render the artwork with unique interpretations at the highest level possible. Howard restricts discourse to allographic5 works in the Western tradition, an important distinction that I had considered questionable at first, but came to realize that virtuosity considered on a wider scale could be overly complicated. My experience with Japanese performing art, for example, would have to examine, Nô, Bunraku, Kabuki theatre, and traditional vocal and instrumental performance, among other things, all quite complex in their own right. Can a puppet in Bunraku be a virtuoso, or would it be the puppeteer? Further, Korean art forms such as pansori and African arts, where some cultures are communal rather than performed by superb practitioners, would all have to be considered. When the whole world is examined... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 133 of its time and nothing beyond that, while in classical historicism every philosophy was a step in the progressive manifestation of truth not only a historical phenomenon. As a result it iustified not only a historicist treatment but also a speculative discussion of its truth-content. These genuine philosophies may be nonetheless rooted in their own time as we all are, but in philosophy as in life (...) everybody is confronted with a decision whether he wants to be merely a part of history or whether he wants to have history, i.e. also to have the link with true being. Pareyson's theory of interpretation is specially tailored to the reconciliation of the multiplicity of philosophies and of the unity of philosophical thought, aiming at ontological truth. All philosophies are personal interpretations of the world, yet they have an indestructible content of ontological truth that surpasses their own time. We shall not err if we compare Pareyson's interpretation with what Joseph Scbelling called "intelektuelle Anschauung," i.e. the intuitive penetration of what he called the Absolute. Pareyson protests also against the claims of the humanistic sciences, such as sociology, anthropology and cultural history, to replace philosophy. All these sciences canhot replace the function of philosophy as described above. Pareyson uses a very illuminating metaphor: interpreting truth is like interpreting a musical score. While any such interpretation may be legitimate, all may be different and all are personal. But the musical score is always the same. The musical score is compared here with the ontological truth of philosophical thought, while the various readings of the score are the various historical philosophies. By so doing Pareyson avoids the error of Heidegger who rejected all historical philosophies from Parmenides to Nietzsche. MAx RINSER New York Ctty Moser, Shia. Absolutism and Relativism in Ethics. (Springfield, Ill., Thomas, 1968) In the last twenty years our ethics textbooks have been modeled upon the topics of normative and critical ethics. Eventually one finds appended to these main subjects discussions on moral determinism and relativism. While the former problem continues to foster much rigorous scholarship, both substantive and analytic, the germane issue of relativism has been seldom set forth today in a clear and convincing fashion. The fleeting recognition the problem receives in our textbooks renders homage to the curiosity of the student rather than encourages research in the origin, variability and validity of moral ideas,x The several articles 2 of any philosophical impact written after A. Edel essayed refutation of Westermarck's relativity thesis by appealing to invariant factors in the social sciences, fare no better. Although it is true that this recent literature has opened An exception is Maria Ossowska's, Social Determinants of Moral Ideas (Philadelphia, 1970); this book belongs to the tradition of A. Edel and is an excellent example of fruitful research in the sociology of morals. 2 C. Wellman, "The Ethical Implications of Cultural Relativity," Journal of Philosophy 60 (1963): 169-184; J. Ladd, "The Issue of Relativism," The Monist 47 (1963): 585-609; T. L. McClintoek, "The Argument for Ethical Relativism from the Diversity of Morals," The Monist 47 (1963): 528-544; G. B. Wall, "Primitive Cultures and Ethical Universals," International Philosophical Quarterly 1 (1967): 471-482; V. A. Howard, "Do Anthropologists Become Moral Relativists by Mistake?" Inquiry 11 (1968): 175-189. 134 HISTORY OF PHILOSOPHY new avenues of conceptual investigation, the diversity of definitions offered and propounded theses make it difficult to ascertain precisely where these new avenues are planned to lead. It seems to me that if one construes relativism in terms of one component of J. Ladd's thesis,3 i.e., moral ideas are causally dependent on socio-cultural determinants of some kind, there is substantially no difference between the alleged moral implications of relativism and those of determinism. Indeed relativism so interpreted becomes entangled in one of the problems peculiar to determinism, which is the difficulty of ascribing responsibility to societies and individuals. Thus the determinist's avowed impotence to blame and praise coincides with the relafivist's virtue of tolerance.4 By the same token one could exploit the determinist's model and speak of hard relativism, soft relativism and... (shrink)

Many individual sentient wild animals are vulnerable to anthropogenic climate change. In this article, I suggest that animal ethicists who take sentient animals’ moral status seriously are likely to agree that, other things being equal, we have moral responsibilities to assist wild animals made vulnerable to climate change. However, I also argue that these ethicists are likely to diverge in terms of the strategies they believe would actually fulfil such moral responsibilities, depending on whether their primary concern is rectificatory justice (...) or duties of beneficence. To support this argument, I consider three plausible strategies for helping wild animals vulnerable to climate change: rescue and rehabilitation, habitat restoration, and assisted migration. I argue that different theoretical approaches to animal ethics are likely to diverge on aspects of all these strategies. These differences mean that the process of creating wide agreement among animal ethicists on climate adaptation strategies to assist vulnerable wild animals faces significant hurdles. (shrink)

In his paper The Opposite of Human Enhancement: Nanotechnology and the Blind Chicken problem (Nanoethics 2:305–316, 2008) Paul Thompson argues that the possibility of disenhancing animals in order to improve animal welfare poses a philosophical conundrum. Although many people intuitively think such disenhancement would be morally impermissible, it’s difficult to find good arguments to support such intuitions. In this brief response to Thompson, I accept that there’s a conundrum here. But I argue that if we seriously consider whether creating beings (...) can harm or benefit them, and introduce the non-identity problem to discussions of animal disehancement, the conundrum is even deeper than Thompson suggests. (shrink)

Companion Animal Ethics explores the important ethical questions and problems that arise as a result of humans keeping animals as companions. The first comprehensive book dedicated to ethical and welfare concerns surrounding companion animals Scholarly but still written in an accessible and engaging style Considers the idea of animal companionship and why it should matter ethically Explores problems associated with animals sharing human lifestyles and homes, such as obesity, behavior issues, selective breeding, over-treatment, abandonment, euthanasia and environmental impacts Offers insights (...) into practical ways of improving ethical standards relating to animal companions. (shrink)

There is increased recognition of a common suite of global challenges that hamper food system sustainability at the community scale. Food price volatility, shortages of basic commodities, increased global rates of obesity and non-communicable food-related diseases, and land grabbing are among the impediments to socially just, economically robust, ecologically regenerative and politically inclusive food systems. While international political initiatives taken in response to these challenges and the groundswell of local alternatives emerging in response to challenges are well documented, more attention (...) is needed to the analysis of similarities between community approaches to global pressures. While we are not suggesting the application of a template set of good practices, the research reported in this paper point to the benefits of both sharing good practices and enabling communities to adopt good practices that are suited to their place-based capacities. The work also suggests that sharing community-derived good practices can support and reinforce global networks of sustainable community food systems, foster knowledge co-creation and ultimately cement collective action to global pressures. In turn these networks could enhance the sustainability and resilience of community food systems and facilitate wide scale food system transformation. (shrink)

It’s widely agreed that animal pain matters morally – that we shouldn’t, for instance, starve our animal companions, and that we should provide medical care to sick or injured agricultural animals, and not only because it benefits us to do so. But do we have the same moral responsibilities towards wild animals? Should we feed them if they are starving, and intervene to prevent them from undergoing other forms of suffering, for instance from predation? Using an example that includes both (...) wild and domesticated animals, I outline two contrasting ways of thinking about our moral responsibilities with respect to assisting animals that are apparently in need. One approach is based entirely around animals’ capacities; the other takes context and historical relations into account as well. While not attempting to adjudicate between these views, I’ll point out the advantages and difficulties of both. (shrink)

t. 1. Dialog s V. V. Davydovym -- t. 2. Nereshennye problemy razvivai︠u︡shchego obrazovanii︠a︡.

Previous research suggests that implicit sequence learning is superior for believers in the paranormal and individuals with increased cerebral dopamine. Thirty-five healthy participants performed feedback-guided anticipations of four arrow directions. A 100-trial random sequence preceded two 100-trial biased sequences in which visual targets on trial t tended to be displaced 90° clockwise or counter-clockwise from those on t − 1. ISL was defined as a positive change during the course of the biased run in the difference between pro-bias and counter-bias (...) responses. It was hypothesized that this difference would be greater for believers in the paranormal than for skeptics, for those who received dopamine than for those who received placebo, and for believers who received dopamine than for the other groups. None of the hypotheses were supported by the data. It is suggested that a simple binary guessing task with a focus on prediction accuracy during early trials should be considered for future explorations. (shrink)

Anyone interested in the influence of Presocratic thought may be tempted to begin with Plato and Aristotle. There is, however, sufficient evidence of Presocratic influence among the sophists to make it clear that this temptation should be resisted. Some traces of this earlier influence may be found in Plato and Aristotle themselves, and this fact should serve as a reminder that their own involvement with Presocratic philosophy did not take place in a vacuum but will have been conditioned or mediated (...) by previous developments. This article deals with classical thinkers who interpreted, wrote about, and preserved the Presocratics, pointing out that just as one must read the Presocratics through the filters of Plato and Aristotle and their successors and commentators, Plato and Aristotle were influenced by the already burgeoning tradition of historiography that developed in the late fifth and fourth centuries. (shrink)

I explore how some aspects of Foucoult’s work on power can be applied to human/animal power relations. First, I argue that because animals behave as “beings that react” and can respond in different ways to human actions, in principle at least, Foucoult’s work can offer insights into human/animal power relations. However, many of these relations fall into the category of “domination,” in which animals are unable to respond. Second, I examine different kinds of human power practices, in particular, ways in (...) which humans construct animal constitutions and animal subjectivities. Finally, I use a case study of a pet cat to show how such power practices may come together in a single instance. (shrink)

Positivists have always objected to people talking about God. Their objection rests on quite general logical grounds. They have discovered a simple, formal test by which to tell significant remarks from nonsensical collections of words. There must, they say, be some minimal conditions of intelligibility. From these we can construct a Principle of Meaning. Now religiousremarks, on any positivist Principle, are demonstrable nonsense. What are these conditions of intelligibility ? Speaker and hearer, we suppose, must use the same language; must (...) possess a rather similar background of information; must both have some interest or other in communication.… Such matters of ‘more and less’ will vary with the topic, the parties, and the occasion. (shrink)