The use of evidence in medicine is something we should continuously seek to improve. This book seeks to develop our understanding of evidence of mechanism in evaluating evidence in medicine, public health, and social care; and also offers tools to help implement improved assessment of evidence of mechanism in practice. In this way, the book offers a bridge between more theoretical and conceptual insights and worries about evidence of mechanism and practical means to fit the results into evidence assessment procedures.

Evidence-based medicine has always required integration of patient values with ‘best’ clinical evidence. It is widely recognized that scientific practices and discoveries, including those of EBM, are value-laden. But to date, the science of EBM has focused primarily on methods for reducing bias in the evidence, while the role of values in the different aspects of the EBM process has been almost completely ignored.

The book juxtaposes key texts from Foucault and Habermas; it then adds a set ofreactions and commentaries by theorists who have taken up the two alternative approaches to powerand critique.

Grief research in philosophy agrees that one who grieves grieves over the irreversible loss of someone whom the griever loved deeply, and that someone thus factored centrally into the griever’s sense of purpose and meaning in the world. The analytic literature in general tends to focus its treatments on the paradigm case of grief as the death of a loved one. I want to restrict my account to the paradigm case because the paradigm case most persuades the mind that grief (...) is a past-directed emotion. The phenomenological move I propose will enable us to (1) respect the paradigm case of grief and a broader but still legitimate set of grief-generating states of affairs, (2) liberate grief from the view that grief is past directed or about the past, and thus (3) account for grief in a way that separates it from its closest emotion-neighbor, sorrow, without having to rely on the affective quality of those two emotions.If the passing of the beloved causes the grief but is not what the grief is about, then we can get at the nature of grief by saying its temporal orientation is in the past (the event of the passing), but its temporal meaning is the present and future—the new significance of a world with the pervasive absence that is the world without the beloved. The no-longer of grief is a no-longer oriented by a past (that which is no longer) that is referred a present and future (that which is a no-longer understood as not now as it once was). Looking at the griever’s relation to time can tell us much about the pain and the object of grief, then. As the griever puts the past before himself with a certainty about this world “henceforth,” a look at the griever’s lived sense of the fi nality of the irreversibly lost (1) liberates grief from the tendency in the literature to be reduced to a past-directed emotion, (2) accounts for grief ’s intensity, its affective force or poignancy, and thus (3) enables us to separate grief from sorrow according to its intentionalobject in light of the temporal meaning of these emotions. (shrink)

This book explores the problem of time and immanence for phenomenology in the work of Edmund Husserl, Martin Heidegger, Maurice Merleau-Ponty, and Jacques Derrida. Detailed readings of immanence in light of the more familiar problems of time-consciousness and temporality provide the framework for evaluating both Husserl's efforts to break free of modern philosophy's notions of immanence, and the influence Heidegger's criticism of Husserl exercised over Merleau-Ponty's and Derrida's alternatives to Husserl's phenomenology. Ultimately exploring various notions of intentionality, these in-depth analyses (...) of immanence and temporality suggest a new perspective on themes central to phenomenology's development as a movement and raise for debate the question of where phenomenology begins and ends. (shrink)

These twelve essays, written by philosophers, examine the usefulness, objectivity, and range of applicability of interpretive methods in ethics and politics, with the goal of isolating the role of methodology to allow debate to focus on substantive conflicts.

For decades, aesthetics has been subjected to a variety of critiques, often concerning its treatment of beauty or the autonomy of art. Collectively, these complaints have generated an anti-aesthetic stance prevalent in the contemporary art world. Yet if we examine the motivations for these critiques, Michael Kelly argues, we find theorists and artists hungering for a new kind of aesthetics, one better calibrated to contemporary art and its moral and political demands. Following an analysis of the work of Stanley Cavell, (...) Arthur Danto, Umberto Eco, Susan Sontag, and other philosophers of the 1960s who made aesthetics more responsive to contemporary art, Kelly considers Sontag's aesthetics in greater detail. In _On Photography_ (1977), she argues that a photograph of a person who is suffering only aestheticizes the suffering for the viewer's pleasure, yet she insists in _Regarding the Pain of Others_ (2003) that such a photograph can have a sustainable moral-political effect precisely because of its aesthetics. Kelly considers this dramatic change to be symptomatic of a cultural shift in our understanding of aesthetics, ethics, and politics. He discusses these issues in connection with Gerhard Richter's and Doris Salcedo's art, chosen because it is often identified with the anti-aesthetic, even though it is clearly aesthetic. Focusing first on Richter's Baader-Meinhof series, Kelly concludes with Salcedo's enactments of suffering caused by social injustice. Throughout _A Hunger for Aesthetics_, he reveals the place of critique in contemporary art, which, if we understand aesthetics as critique, confirms that it is integral to art. Meeting the demand for aesthetics voiced by many who participate in art, Kelly advocates for a critical aesthetics that confirms the limitless power of art. (shrink)

Arthur C. Danto has long defended essentialism in the philosophy of art, yet he has been interpreted by many as a historicist. This essentialism/historicism conflict in the interpretation of his work reflects the same conflict both within his thought and, more importantly, within modern art itself. Danto's strategy for resolving this conflict involves, among other things, a Bildungsroman of modern art failing to discover its essence, an essentialist definition of art provided by philosophy which is indemnified against history, and a (...) thesis about the end of art once it has been defined. Is this strategy successful, or does it result, as I argue, in a philosophical disenfranchisement of art of precisely the type that Danto himself has criticized? (shrink)

Are things ugly or are they just not beautiful? The answer to this and many other questions can be found in this encyclopedia, the first large-scale comprehensive English-language reference on aesthetics and destined to be a classic in the field. Drawing from experts in the areas of philosophy, art, history, psychology, feminist theory, legal theory, and many more, the encyclopedia presents 600 signed essays alphabetically arranged. Most entries include a headnote clarifying the topic. Entries range from the philosophical essay on (...) ugliness, to the more reality-based article on the impact of AIDS on the arts. Comprehensive coverage includes key figures, concepts, periods, theories, and movements in the history of aesthetics."--"Outstanding Reference Sources: the 1999 Selection of New Titles", American Libraries, May 1999. Comp. by the Reference Sources Committee, RUSA, ALA. (shrink)

A four-volume reference work that surveys how philosophers, art historians, and others reflect critically on art and culture. The first comprehensive reference work on aesthetics that presents articles on the history of Western and non-Western aesthetics along with extensive accounts of the contemporary debates.

This paper presents Anthony Steinbock's broad theory of moral emotions and specifically the distinction he draws between the temporal orientation and the temporal meaning of emotions. The latter distinction is used in order to provide phenomenological descriptions of, and distinctions between, patience and impatience. The paper takes leading clues from Steinbock’s work in an effort to “do” phenomenology in a way that clarifies these specific natural attitude intentionalities.

This chapter makes an introduction that focuses on the spirit of Henri Bergson's philosophy organized around his ambition to affect a transformation of life. His first major work, Time and Free Will (1888) examines the effect of a spatialized view of time come to dominate human life, infecting philosophy with a false dilemma regarding the freedom of the human will and social life with conformity. His second work, Matter and Memory (1896), examines the effects of the human condition and scientism (...) on our understanding of the relation between mind and body and the source of consciousness, memory, and dreams in neural correlates or stored in the brain, as Bergson put it when discussing what he called the problem of localization. Creative evolution (1907) rejects the closed systems of all kinds – naturalism, evolutionism, finalism, materialism, idealism – that deny the essential creativity and novelty of life. (shrink)

Often neglected as an influence on phenomenology, Bergson's thought has resurfaced and brought challenges to phenomenology. In a series of original essays and translations, leading scholars of contemporary continental philosophy seek to redress this oversight and inaugurate a long over due dialogue and yet pertinent to the future of continental philosophy. This thematically focused collection reintroduces Bergson to the dominant discourse in continental philosophy (phenomenology), reevaluates phenomenologists' readings of Bergson (e.g., Heidegger, Sartre, Merleau-Ponty, Levinas, and Henry), and examines Bergsonian challenges (...) to phenomenological methods and issues. What emerges is not only a revitalized Bergson read on his own terms, but also a view of the vibrance of Bergson's thought and its central contributions to perennial issues in phenomenology and contemporary continental philosophy: including dualism, intentionality, subjectivity and selfhood, science, time, ethics, freedom, life and affectivity. -- Product Description. (shrink)

Arthur C. Danto is unique among philosophers for the breadth of his philosophical mind, his eloquent writing style, and the generous spirit embodied in all his work. Any collection of essays on his philosophy has to engage him on all these levels, because this is how he has always engaged the world, as a philosopher and person. In this volume, renowned philosophers and art historians revisit Danto's theories of art, action, and history, and the depth of his innovation as a (...) philosopher of culture. Essays explore the importance of Danto's philosophy and criticism for the contemporary art world, along with his theories of perception, action, historical knowledge, and, most importantly for Danto himself, the conceptual connections among these topics. Danto himself continues the conversation by adding his own commentary to each essay, extending the debate with characteristic insight, graciousness, and wit. Contributors include Frank Ankersmit, Hans Belting, Stanley Cavell, Donald Davidson, Lydia Goehr, Gregg Horowitz, Philip Kitcher, Daniel Immerwahr, Daniel Herwitz, and Michael Kelly, testifying to the far-reaching effects of Danto's thought. Danto brought to philosophy the artist's unfettered imagination, and his ideas about postmodern culture are virtual road maps of the present art world. This volume pays tribute to both Danto's brilliant capacity to move between philosophy and contemporary culture and his pathbreaking achievements in philosophy, art history, and art criticism. (shrink)

When summarizing the findings of his 1896 Matter and Memory, Bergson claims: “That every reality has... a relation with consciousness—this is what we concede to idealism.” Yet Bergson’s 1896 text presents the theory of “pure perception,” which, since it accounts for perception according to the brain’s mechanical transmissions, apparently leaves no room for subjective consciousness. Bergson’s theory of pure perception would appear to render his idealistic concession absurd. In this paper, I attempt to defend Bergson’s idealistic concession. I argue that (...) Bergson’s account of cerebral transmissions at the level of pure perception necessarily entails a theory of temporality, an appeal to a theory of time-consciousness that justifies his idealistic concession. (shrink)

Ricoeur’s text divides into three parts corresponding to its title: the phenomenology of memory; the epistemology of history; and the hermeneutics of the human historical condition, its “emblem of vulnerability” being “forgetting”. That the words “memory” and “history” appear in the title proves unsurprising. But what of the title’s final word, “forgetting”? The putative “duty of memory” to “not forget” relegates forgetting to a via negativa, the “reverse side of memory”. Ricoeur, however, raises the prospect of a “right of forgetting”, (...) “a positive meaning” for forgetting that entails the “spirit of forgiveness” and “reconciliation”. By reconsidering forgetting, Ricoeur moves toward the praxis of forgiveness beyond epistemological reflections—including the phenomenology of memory and totalizing, Hegelian philosophies of history —and utilitarian ethico-politics, and redresses lacunae in Time and Narrative and Oneself as Another. (shrink)

The role of mechanistic evidence tends to be under-appreciated in current evidencebased medicine (EBM), which focusses on clinical studies, tending to restrict attention to randomized controlled studies (RCTs) when they are available. The EBM+ programme seeks to redress this imbalance, by suggesting methods for evaluating mechanistic studies alongside clinical studies. Drug approval is a problematic case for the view that mechanistic evidence should be taken into account, because RCTs are almost always available. Nevertheless, we argue that mechanistic evidence is central (...) to all the key tasks in the drug approval process: in drug discovery and development; assessing pharmaceutical quality; devising dosage regimens; assessing efficacy, harms, external validity, and cost-effectiveness; evaluating adherence; and extending product licences. We recommend that, when preparing for meetings in which any aspect of drug approval is to be discussed, mechanistic evidence should be systematically analysed and presented to the committee members alongside analyses of clinical studies. (shrink)

The second edition of the Encyclopedia of Aesthetics is an unparalleled reference resource that surveys the full breadth of critical thought on art, culture, and nature, from classical philosophy to contemporary critical theory. The four-volume first edition, published in 1998, effected a revival of aesthetics that created a receptive context for the contemporary importance of the field. Spanning six volumes and 815 articles, the new edition of the Encyclopedia has been updated and expanded to reflect the rapidly evolving character of (...) the discipline. Renowned contributors from diverse fields provide analyses of the major artists, movements, and theories that continue to inform scholarly research on aesthetics. The updated Encyclopedia of Aesthetics contains 250 new entries that incorporate innovative fields of inquiry, such as animal aesthetics and diaspora criticism, as well as significant new developments in art, including digital media and street art. Additionally, the second edition offers enhanced coverage of non-Western cultural areas and related issues, such as post-colonialism, globalization, and primitivism. In so doing, it extends the scope of critical aesthetics, seeking to create a more open environment for aesthetics in academia, culture, and art. With bibliographic references and images, the Encyclopedia of Aesthetics is an essential work that is of use to artists, scholars, students, and all others interested in art-from painting and sculpture to literature, music, theater, film, and more. (shrink)

Although philosophers have characteristically taken the view that art is a vehicle of some universal meaning or truth, art historians emphasize the concrete, historical location of the individual work of art. Is aesthetics capable of sustaining these two approaches? Or, as Michael Kelly argues: Is art actually determined by its historical particularity? His book covers the views of four philosophers--Heidegger, Adorno, Derrida, and Danto--ultimately iconoclasts, despite their significant philosophical engagement with the arts.

"Examine[s] the history of Marxist philosophical issues in particular, dialectical materialism as developed by French Communist Party intellectuals... Remarkably clear, deeply researched, and well-written."- Political Science Quarterly.

For euthanasia the case is deceptively easy to make. When the suffering of others is ended by death we often feel relief. Commonly we accept that animals must sometimes, as the saying goes, be 'put out of their misery'. And, while most people who advocate euthanasia do not rely simply on our revulsion from suffering as though there were no other considerations, the public appeal of their view probably does rest largely on it.

The purpose of this valuable book is to consider recent cultural trends in bioethics from a Catholic perspective. Bioethics is intended for a lay audience interested in understanding bioethical issues from a Catholic perspective.