Loss of self is widely regarded to be a consequence of dementia, and this perceived loss presents a variety of problems - not least because a clear understanding of the concept of self is elusive. This paper suggests a way to cut through problems that arise because we rely on conceptions of self in our understanding of the effects of dementia. It is proposed that we can avoid reliance on the concept of self through an approach based in in bio-phenomenology. (...) Such an approach would help us better understand the inner life of those with dementia and assist us to recognize that even in late stage dementia they are semiotic subjects with unique value. (shrink)

In this article we revisit the concept of a profession. Definitions of the concept are readily encountered in the literature on professions and we have collected a sample of such definitions. From this sample we distil frequently occurring elements and ask whether a synthesis of these elements adequately explains the concept. We find that bringing the most frequently occurring elements together does not adequately address the reason that society differentiates professions from other occupations or activities -- why there is a (...) concept of ‘profession’ at all. We suggest an alternative approach that attempts to make sense of the concept at a more general level. This more philosophical approach employs analytical tools from Julius Kovesi, Patricia Hanna and Bernard Harrison to address the question of what is the point of the concept. (shrink)

This article questions the commonly held view that professional ethics is grounded in general ethical principles, in particular, respect for client (or patient) autonomy and beneficence in the treatment of clients (or patients). Although these are admirable as general ethical principles, we argue that there is considerable logical difficulty in applying them to the professional-client relationship. The transition from general principles to professional ethics cannot be made because the intended conclusion applies differently to each of the parties involved, whereas the (...) premise is a general principle that applies equally to both parties. It is widely accepted that professionals are required to recognize that clients or patients possess rights to autonomy that are more than the general rights to personal autonomy accepted in ordinary social life, and that professionals are expected to display beneficence toward their clients that is more than the beneficence expected of anyone in ordinary social life. The comparative component of professional ethics is an intrinsic feature of the professional situation, and thus it cannot be bypassed in working out a proper professional ethics. Thus, we contend, the proper professional treatment of clients or patients has not been explained by appeal to general ethical principles. (shrink)

Some philosophers defend the view that epistemic agents believe by lending credence. Others defend the view that such agents lend credence by believing. It can strongly appear that the disagreement between them is notational, that nothing of substance turns on whether we are agents of one sort or the other. But that is demonstrably not so. Only one of these types of epistemic agent, at most, could manifest a human-like configuration of attitudes; and it turns out that not both types (...) of agent are possible. (shrink)

En este trabajo nos proponemos elucidar el concepto de bíos desarrollado por Foucault en su curso recientemente publicado, Subjectivité et vérité,estableciendo su desarrollo luego con la noción de "vida bella" presentada en su Historia de la sexualidad, para finalmente analizar un tipo específico de bíos, el de los cínicos, que transita entre la crudeza de la parresía y la animalidad.

This article aims to address the widespread thesis according to which medieval scholastics would not handle the idea of fine art. Based on a suggestion by Anzulewicz, the author shows how Albert the Great did understand the peculiarity of fine arts and put them in close relationship with liberal arts. There are fine arts, such as music, which are sought after for their own sake and can, therefore, be considered as fully liberal. In contrast to them, there are other arts (...) called mechanical, whose purpose is utilitarian. In the third place, there are other arts which, although also possessing some utility, are chosen for their own sake and are therefore partly liberal; we should place fine arts such as architecture in that group. The more art participates in reason and the beauty of the soul, the more it will be fine and liberal. The product is called to be a metaphor for the honest good of virtue. The very contemplation of this beauty embodied by art evokes an aesthetic enjoyment. In this way, we can see that Albert, no less than Aquinas, speaks of the pleasure linked to the contemplation of beauty. (shrink)

This is basically a paper about artistic evaluation and how multiple interpretations can give rise to inconsistent and conflicting meanings. Images like Joel-Peter Witkin’s First Casting for Milo (2004) challenge the viewer to look closely, understand the formal properties at work, and then extract a meaning that ultimately asks, Is the model exploited or empowered? Is Karen Duffy, pictured here, vulnerable and “enfreaked” or is she potentially subversive, transgressive, and perhaps self-empowered? I will offer an argument in agreement with artist/author/ (...) performer Ann Millett-Gallant that favors the latter interpretation, but will augment and complicate the issue by also introducing a pointed question or two taken from a recent analysis by Cynthia Freeland on objectification. I judge the works by photographer Joel-Peter Witkin to be representations of disabled persons who are empowered through agency and pride, but I also worry about the risk of multiple, conflicting interpretations on the part of viewers who do not, or cannot, entertain such enlightened readings. Like second wave feminist views about pornography that depicted women in demeaning ways, or feminist critiques of Judy Chicago’s The Dinner Party , Witkin’s photos can be judged as potentially offensive. But they are also objects of beauty—both in terms of aesthetic properties (they are magnificent studies in black and white, shadows, the human body, with many classical references) and because of the feeling of beauty and pride felt by the posers, who become performers of their own beauty and pride. I argue that beauty trumps offensiveness. Pride wins. But I’m not sure that everyone will agree. (shrink)

Horwich dà una bella analisi di Wittgenstein (W) ed è uno studioso W leader, ma a mio parere, tutti non sono al di sotto di un pieno apprezzamento, come spiego a lungo in questa recensione e molti altri. Se non si capisce W (e preferibilmente anche Searle) allora non vedo come si possa avere più di una comprensione superficiale della filosofia e del pensiero di ordine superiore e quindi di tutti i comportamenti complessi (psicologia, sociologia, antropologia, storia, letteratura, società). (...) In poche parole, W ha dimostrato che quando hai dimostrato come una frase viene usata nel contesto di interesse, non c'è più nulla da dire. Inizierò con alcune citazioni degne di nota e poi darò quelle che penso siano le considerazioni minime necessarie per capire Wittgenstein, la filosofia e il comportamento umano. La prima si potrebbe notare che mettere "meta" davanti a qualsiasi parola dovrebbe essere sospetto. W ha osservato ad esempio, che la metamatematica è matematica come qualsiasi altra. L'idea che possiamo uscire dalla filosofia (cioè la psicologia descrittiva del pensiero di ordine superiore) è di per sé una profonda confusione. Un'altra irritazione qui (e per tutta la scrittura accademica negli ultimi 4 decenni) è il costante sessismo linguistico inverso di "lei" e "suo" e "lei" o "lui/ lei" ecc., dove "loro" e "loro" e "loro" farebbero bene. Allo stessomodo, l'uso della parola francese "repertorio" in cui l'inglese "repertorio" farà abbastanza bene. La carenza principale è il fallimento completo (anche se molto comune) di impiegare quello che vedo come la vista di due sistemi estremamente potente e intuitiva del quadro di HOT e Searle che ho delineato sopra. Questo è particolarmente toccante nel capitolo sul significato p111 et seq. (soprattutto nelle note a piè di pagina 2-7), dove nuotiamo in acqua molto fangosa senza la struttura di vero automatizzato solo S1, proposizionale disposizionale S2, COS ecc. Si può anche ottenere una migliore vista dell'interno e dell'esterno leggendo ad esempio, Johnston o Budd (vedi le mie recensioni). Horwich però fa molti commenti incisivi. Mi è piaciuto soprattutto il suo riassunto dell'importazione della posizione anti-teorica di W su p65. Ha bisogno di dare più enfasi a 'On Certainty', recentemente oggetto di grande sforzo di Daniele Moyal- Sharrock, Coliva e altri e riassunto nei miei recenti articoli. Horwich è di prim'ordine e il suo lavoro vale la pena. Si spera che lui (e tutti) studierà Searle e un po 'di psicologia moderna così come Hutto, Read, Hutchinson, Stern, Moyal-Sharrock, Stroll, Hacker e Baker ecc per raggiungere una vasta visione moderna del comportamento. La maggior parte dei loro documenti sono su academia dot edu e philpapers dot org etc. Egli dà uno dei più bei riassunti di dove una comprensione di Wittgenstein ci lascia che io abbia mai visto. "Non ci deve essere alcun tentativo di spiegare la nostra attività linguistico/concettuale (PI 126) come nella riduzione dell'aritmetica di Frege alla logica; nessun tentativo di dargli basi epistemologiche (PI 124) come nei resoconti basati sul significato di una conoscenza a priori; nessun tentativo di caratterizzarne le forme idealizzate (PI 130) come nelle logiche del senso; nessun tentativo di riformarlo (PI 124, 132) come nella teoria degli errori di Mackie o nell'intuizione di Dummett; nessun tentativo di snellirla (PI 133) come nel racconto dell'esistenza di Quine; nessun tentativo di renderlo più coerente (PI 132) come nella risposta di Tarski ai paradossi bugiar; e nessun tentativo di renderlo più completo (PI 133) come nel sistemare le questioni di identità personale per bizzarri scenari ipotetici di 'teletrasporto'." Infine, lasciatemi suggerire che con la prospettiva che ho incoraggiato qui, W è al centro della filosofia contemporanea e della psicologia e non è oscura, difficile o irrilevante, ma scintillante, profonda e cristallina e che permane lo è mancare una delle più grandi avventure intellettualipossibili. Coloro che desiderano un quadro aggiornato completo per il comportamento umano dalla moderna vista a due systems possono consultare il mio libro 'La struttura logica dellafilosofia, psicologia, Mind e il linguaggio in Ludwig Wittgenstein e John Searle' 2nd ed (2019). Coloro che sono interessati a più dei miei scritti possono vedere 'TalkingMonkeys--Filosofia, Psicologia, Scienza, Religione e Politica su un Pianeta Condannato--Articoli e Recensioni 2006-2019 3rd ed (2019) e Suicidal Utopian Delusions nel 21st Century 4th ed (2019) . (shrink)

Over the course of the Twilight series, Bella strives to and eventually succeeds in convincing Edward to turn her into a vampire. Her stated reason for this is that it will allow her to be with Edward forever. In this essay, I consider whether this type of immortality is something that would be good for Bella, or indeed for any of us. I begin by suggesting that Bella's own viewpoint is consonant with that of Leo Tolstoy, who (...) contends that one could not have meaningful life without immortality, because only immortality could allow one to make a permanent difference in the world. I argue that this characterization of a meaningful life is problematic, however, insofar as (1) immortality is neither sufficient nor necessary for having such an impact and (2) there is little reason to think that having such an impact is constitutive of a meaningful life. I go on to consider Edward's fear that vampires lack a soul as it relates to Martha Nussbaum's claim that immortal beings would be less capable of certain paradigmatic human values and virtues such as courage, love, or self-sacrifice. I suggest, contra Nussbaum, that Carlisle provides an example of an immortal who displays recognizably human virtues. However, the possibility of Carlisle's being virtuous in this way depends on the existence of other creatures who are mortal. -/- I close by considering the problem of boredom, as articulated by Bernard Williams. According to Williams, a meaningful human life is constituted by certain categorical desires such as the desire to raise children or to create art. The projects aimed at accomplishing these desires are necessarily finite in length, and cannot be repeated indefinitely without losing their value. I argue that many, though perhaps not all, of the immortals described in the series suffer from such boredom. For example, Edward and Rosalie struggle to find meaning in their lives and most werewolves choose to age and die normally after a certain time. Perhaps more significantly, many of the non-"vegetarian" vampires seem to have become entirely divorced from any recognizably human projects or values, and have become focused entirely on satisfying their immediate desires. These examples provide some reason to think that many of Bella's reasons for living, which are essentially tied to her mortality, are not likely to be met by becoming immortal. While this does not show that her choice to become a vampire will leave her ultimately unhappy, it does suggest that her doing so represents a considerable sacrifice. (shrink)

Resumen: Este texto introduce la primera traducción al español de los textos Schönheit [Belleza] de Hans-Georg Gadamer (trabajo escrito en los años ’70 y que vio la luz en alemán póstumamente en 2007) y Schönheit und Bürgerlichkeit [Belleza y burguesía] de Odo Marquard, publicado también en 2007 como respuesta demorada al trabajo del filósofo de Marburgo. Gadamer explora el desarrollo histórico del concepto de belleza en los siglos XIX y XX, poniendo énfasis en que la belleza siguió y seguirá siendo (...) no sólo un concepto estético sino un concepto normativo. Por su lado, Marquard contextualiza las ideas de Gadamer en su marco de producción original y realiza un análisis crítico de las mismas a partir de sus propias tempranas contribuciones a una teoría de las “ya no bellas artes”.// Abstract: This text introduces the first Spanish translation of Hans-Georg Gadamer’s Schönheit [Beauty] (work written in the 1970s and posthumously published in German in 2007) and Odo Marquard’s Schönheit und Bürgerlichkeit [Beauty and Bourgeoisie], published also in 2007 as a delayed response to Gadamer’s views. Gadamer explores the historical development of the concept of beauty in the 19th and 20th centuries, emphasizing that beauty continued and will continue to be not only an aesthetic concept but also a normative concept. For his part, Marquard contextualizes Gadamer’s ideas in their original production framework and performs a critical analysis of them based on his own early contributions to a theory of the “no longer beautiful arts”. (shrink)

This paper (presented along with others at an APA session with the late Dr. Anita Silvers commenting) explores and engages a mode of defiant challenges to the traditional, able-bodied standard of female beauty evidenced throughout the history of art as portrayed by the controversial photographer, Joel-Peter Witkin. Witkin's images of Ann Millett-Gallant, author of the book, The Disabled Body in Contemporary Art, "visualize disability" as they explore issues in agency, otherness, and the medical body.