Modern converged mass media, particularly television and the World Wide Web, may be fostering a new orality in opposition to traditional alphabetical literacy. Scholars of orality and literacy maintain that oral cultures feature reduced levels of critical assessment of media messages. An analysis of Aristotle's description of ethos, as presented in that philosopher's Rhetoric, suggests that an oral culture can foster media that deliver selective truths, or even lies, thus ranking poorly in hierarchical ethical schemata such as those developed by (...) Kohlberg, Gilligan, and Baker. (shrink)

Here we describe how more important findings were obtained in a delirium study by using an informal assessment of mental capacity, and, in those who lacked capacity, obtaining consent later when or if capacity returned or a proxy was found. From a total of 233 patients 23 patients lacked capacity as judged by our informal capacity judgment and 210 did not. Of those who lacked capacity, 13 agreed to enter in the study. Six of them regained capacity later. When these (...) 13 participants were excluded from analysis, significant findings were no longer evident. These results show that by the inclusion of subjects who lacked capacity the results of analyses of the condition from whish they suffer are altered. We suggest that this approach to the study of delirium is more ethical than the usual system of strict exclusion of people who lack capacity to give consent and for whom assent is not available. (shrink)

Plato’s Apology of Socrates contains a spirited account of Socrates’ relationship with the city of Athens and its citizens. As Socrates stands on trial for corrupting the youth, surprisingly, he does not defend the substance and the methods of his teaching. Instead, he simply denies that he is a teacher. Many scholars have contended that, in having Socrates deny he is a teacher, Plato is primarily interested in distinguishing him from the sophists. In this article, I argue that, given the (...) historic educational transformation in Socrates’ and Plato’s lifetimes, Socrates’ denial is far more complex and far reaching than the Socrates-versus-the-sophists distinction indicates. Socrates suggests that Athenians have failed to recognize that there were various types among the new educators of fifth century Athens: orators, sophists, natural philosophers and, perhaps, a philosopher like Socrates. Further, the traditional education, which the Athenians believed was threatened by the new educators, was itself fractured. Ultimately, rather than offering a straightforward distinction between philosophizing and teaching, Socrates and the sophists, Plato treats the question of teaching aporectically in Apology; that is, after pointing to various alternatives for understanding the nature of teaching, Plato concludes the work without offering a clear resolution to that question. (shrink)

:The theme of sacrifice appears in Jean-François Lyotard's writings on cinema not in terms of any representational content but in terms of the economy of the images from which a film is formally constructed. Sacrifice is here understood in a sense derived from Bataille, and related to his notions of general economy, and of sovereignty. Lyotard's writings on cinema have received some attention in English-language scholarship, but so far this attention has been focused almost exclusively on two essays which have (...) appeared in English translation: “Acinema” and “The Unconscious as Mise-en-Scène.” I offer an analysis which also incorporates his two other important essays on cinema, “Deux métamorphoses du séduisant au cinéma” [Two Metamorphoses of the Seductive in Cinema] and “Idée d'un film souverain” [The Idea of a Sovereign Film]. The interest of the former is that it makes most explicit the aesthetic politics – evident in many of Lyotard's writings on art – specific to cinema. In the latter, Lyotard gives his most extensive treatment of cinema, and frames it in terms of Bataille's notion of sovereignty. I offer an interpretation of Lyotard's philosophy of cinema which links these quite disparate essays, foregrounding the political dimension of the sacrificial economy of images he proposes: films of any variety, even commercial cinema, may include some sequences and images which are “sacrificial” in that they are “other” to the chronological narrative of the whole. These images liberate us from the seductive effects of the narrative, and the invitation to fantasise, which act as means of imposing and reproducing dominant social and cultural norms. (shrink)