David Hume is widely known as a critic of natural theology. Hence he is referred to as ‘the great infidel’. Moreover, when one thinks of Hume's criticisms of natural religion one often thinks of Philo's criticisms of various theistic arguments presented by Cleanthes and Demea in Dialogues Concerning Natural Religion. In his preface to the Hackett edition of the Dialogues Richard H. Popkin writes, Many consider it the most decisive modern critique of some of the major arguments concerning the existence (...) and nature of God. (shrink)

A commentary on “Models of Consent to Return of Incidental Findings in Genomic Research,” by Paul S. Appelbaum, Erik Parens, Cameron R. Waldman, Robert Klitzman, Abby Fyer, Josue Martinez, W. Nicholson Price II, and Wendy K. Chung, in the July‐August 2014 issue.

The paper considers the gap that exists between between normative and empirical theories of democracy. Empirical theories usually stop in their aspirations where normative theories get off the ground, that is, they take the model of liberal democracy as their normative horizont. This is a confusing situation especially with regard to the possibilities of enhancing the quality of existing liberal democracies. We argue that a simple recalibration of democracy indexes, so as to include normatively more demanding considerations, is impossible, due (...) to certain recurring features of normative models. We conclude that if we want to be serious about bridging the gap, concessions should be made both sides. (shrink)

Este documento ofrece una propuesta desde la perspectiva de la bioética para la elaboración de un protocolo de triaje en el contexto de la pandemia de COVID-19. Dicha propuesta incluye recomendaciones sobre las normas procedimentales y normas sustantivas que deben regir la asignación y reasignación de recursos terapéuticos en condiciones de escasez extrema.

After an introduction into the history of book illustrations from the second half of the 18th century to the late 19th century follows a sketch of the evolution of illustrations for Johann Wolfgang Goethe’s novel “The Sorrows of Young Werther” from 1775 to 1870. The featured illustrations can be divided into groups of approximately 10 central motives. The resting points of the narrative were chosen as highlights of many illustrations: They depict the sentimental and idyllic scenes. The interpretation of (...) the illustrations is focused on the possibilities to gain new, esp. social psychological ways of understanding the novel. (shrink)

This paper aims to measure the quality of all Romanian cities’ websites in 2019 and 2022, before and after the disruptive event of COVID-19. Since the official websites are the core instrument of e-governance, the changes in the quality of Romanian cities’ websites reflect the changes in the development of urban e-governance in Romania. The COVID-19 lockdowns and contact restrictions and the moving of most activities into the online environment had the potential to impact the performance of Romanian cities’ websites (...) significantly and catalyze the progress of local e-governance. The quality of Romanian cities’ official websites was measured using an adapted survey instrument proposed by Holzer and Kim and Manoharan, Melitski, and Holzer. The tool covers five critical criteria of website quality or performance: personal data security, usability, content, services, and citizen participation. The research results may seem contrary to expectations: the improvements of websites have been incremental rather than transformational. Although our research provides only a case study, we may assert that the reform of traditional administration remains a step-by-step process. Our study’s main contribution consists in showing that the progress of e-governance is an incremental process even in a situation of emergency that requires the moving of most activities into the online environment. (shrink)

This essay explores the role that the aesthetic-nonaesthetic distinction plays in assessing activist art by women and artists of color. First, I shall review one traditional line of philosophical thought and show how it serves as the foundation for three types of reasons typically given for artworks reputed to lack aesthetic value. I develop two of the three reasons by examining recent writings opposed to the aesthetic value of activist art by well-known art critic Donald Kuspit, pointing out his aberrant (...) use of "obscene." Kuspit's examples of activist art--the work of Jenny Holzer, Barbara Kruger, and Adrian Piper--are presented in light of his charges. I then explore Piper's art in depth in order to outline ways of expanding the notion of aesthetic value beyond its traditional confines. Finally, I suggest moving beyond entrenched, traditional patterns of assessment and invite underrepresented voices to contribute to the emerging discussion of the multiplicity of aesthetic values. (shrink)