Nikola Skledar, Vidici praktičke filozofije
The review of: Nikola Skledar, Vidici praktičke filozofije, Hijatus, Zenica 2004., 222 str.
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The review of: Nikola Skledar, Vidici praktičke filozofije, Hijatus, Zenica 2004., 222 str.
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Philippa Foot, Die Natur des Guten. S engleskog na njemački preveo Michael Reuter, Suhrkamp Verlag, Frankfurt am Main 2004., 162 str.
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The paper offers a twofold intervention in the debates about the paradox of fiction. First, it argues that too much emphasis has been placed on the paradox’ epistemological aspect. This has led to a neglect of its ethical dimension. Specifically, little has been said about the ethical issues of regularly caring for fictional entities while exhibiting comparatively far less concern for real-life fellow men and women. Second, the essay argues that it is often the case that it is real-life structures rather than fictional entities that cause emotions. In the case of horror, for example, we are not afraid of the fictional monster but of an off possibility that something like this might exist in the real world. Importantly, the proposal differs from the counterfactualist approaches because it allows that fictional entities may cause emotions. Specifically, emotions which do not have clearly defined accompanying typical actions, such as sympathy and antipathy.
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The review of: Hrvoje Jurić, Iskušenja humanizma. Hrvatsko filozofsko društvo, Zagreb 2018.
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The review of: Ivana Greguric, Kibernetička bića u doba znanstvenog humanizma. Prolegomena za kiborgoetiku, Hrvatsko filozofsko društvo, Pergamena, Znanstveni centar izvrsnosti za integrativnu bioetiku, Zagreb 2018.
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We reconstruct past events, whether in history or in everyday life, in the form of narratives. Yet narratives describing one and the same set of events can and do differ. What is the relation between these different narratives? Must they necessarily conflict? When are they compatible and when not? If we can tell stories differently without getting the facts wrong, what constraints can there be for judging the adequacy of competing narratives?
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There are different approaches to the narrative self. I limit myself to one approach that argues narratives have an important role to play in our lives without it being true that a narrative constitutes and creates the self. My own position is broadly sympathetic with that view, but my interest lies with the question of whether there is truth in the claim that to create one’s self-narrative is to create oneself. I argue that a self-narrative may be multiply realised by the inner self—impressions and emotions—and the outer self—roles in work and life. I take an optimistic attitude to the idea that narrative provides a metaphor that may stimulate insight into the nature of self if we accept a plurality of narrative selves. This paper mines a vein of research on narratives for insights into selves without being bewitched into accepting implausible conclusions.
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The paper seeks to argue that different ways in which the self is understood, even if radically distinct from one another, are cases of different narratives. This is done by appealing to conceptual metaphor theory. The paper begins by briefly explaining the difference between the minimal and narrative self and then argues that even radically different ways of understanding the self are cases of different narratives arising out of a metaphorical understanding of abstract concepts.
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This paper defends the view that narratives that bring understanding of the past need not be exhaustively analyzable as explanatory inferences, nor as causal narratives. Instead of treating historical narrative as explanations, I argue that understanding of history can be analyzed by the general epistemic criteria of under-standing. I explore one such criterion, which is of chief importance for good historical narratives: potential inferential power. As a corollary, I dispute one of the distinctive features of narratives described by some philosophers: the non-aggregativity of narrative histories. Instead, I propose that historical narratives modestly aggregate and this aggregation depends on the success of the colligatory concepts they offer.
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Narratives play an important role in the conceptualizations and classifications of mental disorders and cognitive dysfunctions. They recur in psychiatry, psychology, cognitive sciences, impairments' therapeutics, etc. Despite their relevance, first-person reporting and specialists' recounting of clinical cases have been understated in the literature. This is intriguing since narratives can potentially influence diagnostic statements, procedures, and prescriptions of rehabilitation treatments. They can also account for the extent to which certain disorders are normalized or pathologized within specific cultural contexts. Nonetheless, a narrative/story/description cannot be substituted for the contributions of the brain and behavioral health sciences. In Section I, we summarize three reasons that could explain the deflationary view of narratives in the clinical and neuroscientific literature: a) The brain and behavioral health sciences’ aspiration to emulate successful disciplines centered on pathogen-causal models; b) The bioinspired explanatory patterns; and c) The brain and behavioral health sciences’ neglect of the big picture, i.e., the interaction of components when a cognitive/psychiatric/psychological problem presents. A concomitant core problem is presented in Section II: Psychiatry's out-of-date conception of personality assumes that personality traits are fixed features of a subject’s identity and that identity is a static closed system. In Section III, we challenge this view and urge brain and behavioral health sciences professionals to update their notion of personality and narrative. We conclude by offering some criteria that distinguish genuine narratives from story-like accounts (i.e., genuine narratives must be consistent, explanatory, coherent, and constant).
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The role of narratives in clinical practice has long been underappreciated. This disregard is largely due to an overemphasis on reductionist interpretations of disease causes based on the primacy of the medical model of disease. This way of thinking has led to decontextualizing symptoms of disorders from patients’ lives. More recently, however, healthcare professionals have turned towards a biopsychosocial model that reintroduces sociocultural and psychosocial aspects into clinical diagnosis and treatment. To this end, narrative approaches have been increasingly explored as alternative diagnostic and therapeutic tools. Central to the narrative approach is the avoidance of pathologizing language that usually focuses on deficiencies. Instead, patients’ narratives are co-constructed and co-created together with the clinician or therapist to transform them into empowering stories about healing. To make narratives accessible and transformable for the patient, psychoeducational methods can be used to translate scientific and medical knowledge about the disease into stories described in everyday language that resonate with the patient’s own life stories. Consequently, psychoeducational narratives enhance the patient’s competence in coping with a physical or mental illness and re-contextualizing symptoms, and prompt an increased compliance with therapies.
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In this paper, I discuss the roles narratives play in the diagnostics, treatment, and recovery of chronic pain patients. I show that the successes of this narrative approach to the treatment of chronic pain support the biopsychosocial model of disease. The central example of narrative interventions discussed in the paper is pain neuroscience education. This is an intervention which aims at helping chronic pain patients reconceptualize their pain experiences so as to align them with neuroscientific knowledge of pain. Multiple clinical trials have established the success of these interventions in pain reduction. This shows that neuroscience pain education is in fact an evidence-based approach. I conclude that narrative and evidence-based medicine are compatible.
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When Bradley Lewis announced in 2014 that psychiatry needed to make a "narrative turn", he backed up his appeal as follows: (1) the different explanatory models of mental disorders that are currently competing in psychiatry tell us different stories about mental health; (2) none of these stories has the privilege of being the only true one, and its alternatives the wrong ones; (3) the choice of a model in each case should be made in dialogue with the patient in order to ensure that the model will be chosen that best meets the patient’s goals and desires and, accordingly, would best support the process of recovery. The latter suggestion, however, is not easy to follow when the patients’ subjective goals and desires diverge from the clinical goal of returning the patients to a normal way of life, as is the case with the so-called factitious disorders. The problem is worsened by the theory-ladenness of the interpretations of patients’ first-person narratives. This paper argues against a common assumption that biases our understanding of abnormal behavior, in particular the behavior of those who feign illness. The assumption in question is the following: that such behavior satisfies certain – possibly unknown – psychological needs.
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Considering common compartmentalizations of Lukacs’ work into the early, mature, and late phase, the article explores elements that speak to what critics regard as a ›continuity thesis‹. Against possible assumptions on the prevalence of form in his early work and the dominance of the aesthetics of content in the later phases, the article explores the dialectical relationship of form and content, which comes to represent a leitmotif in Lukacs’ work as a whole. Here, the early specificity of form does not consist of its domination over content but in the inability of the aesthetic to tackle the social problems of a modernity in which art and life part ways.
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The concept of form occupies a central position in Georg Lukács’s early aestheticist work. Nevertheless, Lukács was aware of the limits of form in its confrontation with everyday life. In his critical appraisal, he revealed these limits in regard to aesthetic and ethical form. Neither can penetrate the ordinary life of men and they, thus, entrap the individual in a solipsistic relation to the world. In his pre-Marxist period, Lukács searched for an alternative in a kind of practical mysticism. This turn allowed him to discover a path beyond formalism in revolutionary, transformative praxis. This is the very path that finally led him to his dialectical-practical understanding of Marxism.
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Integrity of governance is a frequent topic in discussions of legal theory. The key terms of such discussions tend to be drawn from and applied within what Uwe Poerksen has called modular language, which he considers to be characteristic of most of the theoretical fields that are of interest to both the academic community and a more general public. These terms are ascribed meanings that are not, strictly speaking, related solely to legal theory. The area of legal theory is emphasised here because of the topic of this paper, but the same situation is to be found in almost all the scientific and academic disciplines. Theoretical terms or paradigms are reified and their meanings kept unclear, which in turn obscures their role in theoretical considerations. This paper will discuss “integrity of governance”, “ethics of governance”, “good governance”, and “legal perspectives” as such phrases within legal theory and practice, with a particular focus on their use and interpretation in the contemporary business environment.
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Under pressure from the threat of the pandemic, we are losing sight of the dangers of further erosion to our freedoms, impoverishment, and debt bondage. The few but powerful owners of capital have been increasing controls over the majority of the population, over armies, and as far across the planet as they can reach. But they cannot stop us thinking. The coronavirus helps us see that further investment in atomic and conventional weapons is senseless, that happiness lies not in villas, pools, yachts, jets, or stockpiles of electronic currency. Like death, the virus is a great equaliser.
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