I Do Not Consent

"From treating COVID patients in her local hospital to fighting for the rights of frontline doctors, Dr. Simone Gold tells her story."--Back cover.

“The bumper-sticker directive to ‘follow the science’ was actually an evasion of responsibility. It let people off the hook for their bad decisions in a crisis. Was New York Governor Cuomo’s executive order sending COVID-hospitalized patients back to nursing homes to infect other vulnerable nursing home patients ‘following the science’? Of course not. And sending post-hospitalization COVID-positive patients back to nursing homes was unnecessary. Relative to the total nursing home population, Governor Cuomo contributed to a larger percentage of nursing-home deaths—especially when compared to the states without such a policy. New Jersey’s over seven thousand nursing home deaths account for half of the state’s fatalities since March. Pennsylvania did just as miserably. These governors made specific decisions that cost thousands of the most vulnerable, most expendable, their lives. But they didn’t do it to their own relatives.” —From I Do Not Consent

“Consent” is a Molotov cocktail, flung at the face of the French establishment, a work of dazzling, highly controlled fury...By every conceivable metric, her book is a triumph.” -- The New York Times Already an international literary sensation, an intimate and powerful memoir of a young French teenage girl’s relationship with a famous, much older male writer—a universal #MeToo story of power, manipulation, trauma, recovery, and resiliency that exposes the hypocrisy of a culture that has allowed the sexual abuse of minors to occur unchecked. Sometimes, all it takes is a single voice to shatter the silence of complicity. Thirty years ago, Vanessa Springora was the teenage muse of one of the country’s most celebrated writers, a footnote in the narrative of a very influential man in the French literary world. At the end of 2019, as women around the world began to speak out, Vanessa, now in her forties and the director of one of France’s leading publishing houses, decided to reclaim her own story, offering her perspective of those events sharply known. Consent is the story of one precocious young girl’s stolen adolescence. Devastating in its honesty, Vanessa’s painstakingly memoir lays bare the cultural attitudes and circumstances that made it possible for a thirteen-year-old girl to become involved with a fifty-year-old man who happened to be a notable writer. As she recalls the events of her childhood and her seduction by one of her country’s most notable writers, Vanessa reflects on the ways in which this disturbing relationship changed and affected her as she grew older. Drawing parallels between children’s fairy tales and French history and her personal life, Vanessa offers an intimate and absorbing look at the meaning of love and consent and the toll of trauma and the power of healing in women’s lives. Ultimately, she offers a forceful indictment of a chauvinistic literary world that has for too long accepted and helped perpetuate gender inequality and the exploitation and sexual abuse of children. Translated from the French by Natasha Lehrer "...One of the belated truths that emerges from [Consent] is that Springora is a writer. [...]Her sentences gleam like metal; each chapter snaps shut with the clean brutality of a latch." -- The New Yorker "Consent [is] rapier-sharp, written with restraint, elegance and brevity." -- The Times (London) "[Consent] has something steely in its heart, and it departs from the typical American memoir of childhood abuse in exhilarating ways." -- Slate "Lucid and nuanced...[Consent] will speak to trauma survivors everywhere." -- Los Angeles Review of Books ”A piercing memoir about the sexually abusive relationship she endured at age 14 with a 50-year-old writer...This chilling account will linger with readers long after the last page is turned.” -- Publishers Weekly "Springora's lucid account is a commanding discussion of sexual abuse and victimization, and a powerful act of reclamation." -- Booklist "A chilling story of child abuse and the sophisticated Parisians who looked the other way...[Springora] is an elegant and perceptive writer." -- Kirkus

By examining how female characters speak and act during coming of age, engagement, marriage, and intimacy, Consent in Shakespeare will enhance understanding about how and why women spoke, remained silent, or acted as they did in relation to their intimate partners in Early Modern and contemporary private and public situations in and around the Mediterranean. Consent in intimate relationships is front and center in today’s conversations. This book re-examines the verbal and physical interactions of female-identified characters in Early Modern and contemporary cultures in Shakespeare’s Mediterranean comedies and the sources from which he derived his plays. This re-examination of the words that women say or do not say, and actions that women do or do not take, in Shakespeare’s Mediterranean plays and his probable sources sheds light on how Shakespeare’s audiences might have perceived Mediterranean cultural mores and norms. Assessment of source materials for Shakespeare’s comedies set in the Balkans, France, Italy, the Near East, North Africa, and Spain suggests how women of diverse backgrounds communicated in everyday life and peak life experiences in the Early Modern era. Given Shakespeare’s impact worldwide, this initiative to shift the conversation about the power of consent of female protagonists and supporting characters in Shakespeare’s Mediterranean plays will further transform conversations about consent in class, board and conference rooms, and the international stage.

How are we meant to behave? And how are we to defend whatever answer we give? Morals and Consent grounds our notion of morality in natural evolution, and from that basis, Malcolm Murray shows why contractarianism is a far more viable moral theory than is widely believed. The scope of Morals and Consent has two main parts: theory and application. In his discussion of theory, Murray defends contractarianism by appealing to evolutionary game theory and metaethical analyses. His main argument is that we are not going to find morality as an objective fact in the world, and that instead, we can understand morality as a reciprocal cooperative trait. From this minimal moral architecture, Murray derives his innovative consent principle. The application of the theory, detailing what contractarians can - or ought to - say about moral matters, takes up the greater portion of the work. Murray offers a trenchant examination of what moral constraints we can claim concerning death (abortion, euthanasia, and capital punishment), sex (pornography, prostitution, and sexual assault), beneficence (toward present and future people, animals, and the environment), and liberty (genetic enhancement, organ sales, and torture). By focusing on evolutionary contractarianism and the epistemic justification of our moral claims - or lack thereof - Malcolm Murray's Morals and Consent is a serious advance in the field of applied ethics and fills an important void.

Margaret Gilbert presents the first full-length treatment of a central class of rights: demand-rights. To have such a right is to have the standing or authority to demand a particular action of another person. Gilbert argues that joint commitment is a ground of demand-rights, and gives joint commitment accounts of both agreements and promises. [Source : éditeur].

An intellectual dissection of the modern media to show how an underlying economics of publishing warps the news.