Research in the philosophy of addiction commonly explores how agency is impacted in addiction by focusing on moments of apparent loss of control over addictive behavior and seeking to explain how such moments result from the effects of psychoactive substance use on cognition and volition. Recently, Glackin et al. (2021) have suggested that agency in addiction can be helpfully analyzed using the concept of affordances. They argue that addicted agents experience addiction-related affordances, such as action possibilities relating to drugs, drug (...) paraphernalia, and drug-related activities, as aberrantly salient motivations for action. Building on this approach, we present a novel two-tiered affordance model of addiction. In doing so, we suggest that what is significant about the addicted person’s world is not simply what affordances are experienced as salient, but also the way in which the addicted person’s world is shaped by a dominant concern. It is not only that addiction-related affordances become more prominent as addiction progresses but that one’s plurality of concerns become monopolized by and funneled through addiction. Our model endorses Glackin et al.’s idea that addiction-related affordances become aberrantly salient, while proposing why they become and remain so. This way of viewing agency in addiction also brings to light important implications for recovery and treatment. For, if an addicted person adopts a new, even “socially approved”, dominant concern, there is a risk that the shape of addiction is preserved, even though the content changes, leaving an individual at the risk of addiction substitution or relapse. (shrink)

Este ensaio pretende tatear uma hipótese relacional entre dois elementos heterogêneos: a obra de Christopher Isherwood e o poema elegíaco. Para tal, tomar-se-ão duas obras de Isherwood –“Christopher and His Kind” (1976) e “The Berlin Stories” (1945) –e a peculiar interpretação de Paul Veyne acerca do modo de escrita elegíaca. O que se defenderá, então, é que ao se construir a personagem de Sally Bowles, Isherwood descola o ente extra-textual (Jean Ross), assim como faz consigo mesmo quando (...) escreve sobre si. Como percurso para tal interpretação, este texto se divide em três partes: a primeira fará uma retomada biográfica de Christopher Isherwood, a segunda uma apresentação das duas personificações supracitadas, e a terceira uma explicação a partir do caráter elegíaco, tal como visto por Paul Veyne. (shrink)