This introduction argues for the value of projecting as a category of analysis, while exploring the contexts for its emergence and spread as a genre of intellectual and practical activity in the sixteenth, seventeenth, and eighteenth centuries. The emergence of the morally ambivalent figure of the “projector” in Elizabethan and Stuart England – initially in connection with confessional strife and attacks on corruption, and subsequently in relation to colonial expansion, experimental philosophy, and commercial and fiscal innovation – provoked defences of (...) projecting that articulated the relationship between private interest, individual effort, the public good, and collaborative ­scientific practice in new ways. German cameralists and French philosophes extended these arguments, while recuperating the figure of the projector, in the eighteenth century. (shrink)

If the task of a post-Cartesian psychoanalysis is understood as one of exploring the patterns of emotional experience that organize subjective life, one can recognize that this task is pursued within a framework of delimiting assumptions concerning the ontology of the person. In this paper, we discuss these assumptions as they have emerged in the thinking of four major philosophers on whom we have drawn: Søren Kierkegaard, Friedrich Nietzsche, Ludwig Wittgenstein, and Martin Heidegger. Our purpose in what follows is (...) to describe essential ideas of these various thinkers and to identify the formative personal contexts within which their key insights into human life took form. By psychologically contextualizing philosophical assumptions, we hope to make progress toward discerning the particularization of scope that may be associated with these assumptions, and hence to begin a further opening up of the horizons of understanding that inevitably encircle psychoanalytic inquiry. (shrink)

This essay joins Wilhelm Dilthey’s conception of the metaphysical impulse as a flight from the tragedy of human finitude with Ludwig Wittgenstein’s understanding of how language bewitches intelligence. We contend that there are features of the phenomenology of language that play a constitutive and pervasive role in the formation of metaphysical illusion.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Roots of RomanticismJames SchmidtIsaiah Berlin. The Roots of Romanticism. The A. W. Mellon Lectures in the Fine Arts. The National Gallery of Art, Washington, D.C. Bollingen Series XXXV:45. Edited by Henry Hardy. Princeton: Princeton University Press, 1999. Pp. xvi + 171. Cloth. $19.95.Originally delivered in the spring of 1965 and subsequently broadcast several times over the BBC, Berlin's lectures on romanticism have long been esteemed by his (...) admirers. Berlin nevertheless resisted their publication, hoping one day to write a book on romanticism. His literary executor Henry Hardy reports, however, "not so much as a sentence of the intended work was ever written" (x). Thus Hardy's edition of these lectures constitutes Berlin's most extended reflection on a theme that loomed large in his understanding of the modern world: the romantic critique of the Enlightenment.Surprisingly few romantics actually appear in these pages. Those who do arrive late, linger briefly, and are usually German. Fichte enters on page 88, followed by Schelling (97) and the Schlegel brothers (104), with brief appearances by E. T. A. Hoffman and Johann Ludwig Tieck (114-6). Only in his closing ruminations on the impact of romanticism does Berlin cast a glance at Byron, Chateaubriand, and Sir Walter Scott. Most of the book explores what Berlin takes to be romanticism's "roots," which he locates in a few eighteenth-century German writers who, when romanticism finally burst upon the scene, were either disgusted by it (Jacobi, Schiller, and Goethe) or dead (Hamann). A few years later Berlin made these proto-romantics the charter members of the movement he dubbed "the Counter-Enlightenment"—a concept that would have a considerable career of its own. Berlin's concern is thus less with romanticism per se than "with the revolution of which romanticism, at any rate in some of its guises, is the strongest expression and symptom" (xiii).As Berlin saw it, this revolution involved a rejection of the idea that 1) "all [End Page 451] genuine questions can be answered," 2) "all these answers are knowable," and 3) "all these answers must be compatible with one another" (21-2). Upon these three principles, he insists, "the whole Western tradition rested" (21), and their rejection constitutes "the greatest single shift in the consciousness of the West" (1). Berlin holds that the Enlightenment left these principles unshaken. It was the romantics who questioned the "ruinous" belief that "there is one single solution to all human ills" (which carries the insidious corollary that "you must impose this solution no matter what cost") and thus laid the foundations for "liberalism, toleration, decency and the appreciation of the imperfections of life" (146-7), causes which are usually associated (wrongly, according to Berlin) with the Enlightenment.These arguments will not be unfamiliar to those who know Berlin's works. Reading him is a bit like listening to Vivaldi: taken individually, his essays are clever, vigorously argued, and elegantly crafted; but reading them in sequence soon leads to a nagging sense of having heard it all before. Berlin's work was animated by an awareness of the diversity of plausible answers that could be given to the question of how life should be lived and by an impassioned defense of this plurality of possibilities against the illusion of an ultimate solution. One can admire the defense of liberalism that Berlin drew from these convictions and yet have reservations about the historical accuracy of his account of the relationship between romanticism and the Enlightenment. It is hard to see Hamann as a supporter of pluralism and harder still to see the philosophes—who rejected the dogmatic esprit de systèm in favor of an experimentalist esprit systématique—as oblivious to the multiplicity of ways in which good lives could be lived. Lessing's views on religious questions were a good deal more skeptical and open-ended than Jacobi's. Fichte and Schelling sought to bring a greater systematic coherence to Kant's philosophy, not to dismantle it. Once one moves from general claims about "romanticism" and "the Enlightenment" to assess specific thinkers, the picture becomes a good deal messier than Berlin lets on. Early romantics... (shrink)

Ce célèbre texte de Marx, rédigé en 1845, est un des plus petits documents philosophiques : soixante-cinq lignes, distribuées en onze «thèses», dont la plus longue compte treize lignes et la plus brève, une ligne et demie.À quoi attribuer sa fortune? Il en va de ces notes comme des aphorismes de Nietzsche ou des -carnets de Valéry : le regard étranger découvre, dans l'apparente spontanéité de l'écriture, dans sa déconcertante concision, sa propre disponibilité et comme une invite à la libre (...) coproduction du sens.Marx, en réalité, règle ses comptes avec ce qu'il appelle sa «conscience philosophique d'autrefois ». Il refuse désormais de se contenter du rôle de spectateur.Il voit dans ce qu'il regarde autour de lui, des besoins et des projets, du travail et de l'imagination, qui renvoient à une économie, à une culture, à une histoire, c'est-à-dire à une société déterminée.Ce livre nous fait pénétrer au sein du laboratoire de Marx, au moment où il engage une révolution théorique qui n'a pas fini de faire parler d'elle, ainsi qu'en témoigne le retentissant, perdurable et quasi obsessionnel écho de la 11e thèse sur Feuerbach : « Les philosophes ont seulement interprété différemment le monde, ce qui importe, c'est de le changer. »La suite est connue, l'œuvre sera poursuivie sous le signe, pour l'essentiel, de la « critique de l'économie politique », du Manifeste du Parti communiste et du Capital, du 18 Brumaire et de La guerre civile en France. À noter que cet avenir-là, nous le connaissons, mais pas Marx... (shrink)

Geleltwort, von L. Landgrebe.--Geschichte und Ünderliefreung, von G. Miyake.--Wahrhelt und Schn̈heit, von K. H. Volkmann-Schluck,--Georg Büchner: Das endlose Drama, von . G. Baumann.--Die Lehre von der Vergangenheit der Kunst, von, J. Patǒcka.--Der Sinn der künstlerischen Revolte, von D. Pejović.--Das problem der Konkretisierung der Transzendentalität, von E. Heintel.--Ontologische Erfahrung. von J. Lohmann.--Philosophie in Orient und Okzident, von S. Moser.--.

Geleltwort, von L. Landgrebe.--Geschichte und Ünderliefreung, von G. Miyake.--Wahrhelt und Schn̈heit, von K. H. Volkmann-Schluck,--Georg Büchner: Das endlose Drama, von . G. Baumann.--Die Lehre von der Vergangenheit der Kunst, von, J. Patǒcka.--Der Sinn der künstlerischen Revolte, von D. Pejović.--Das problem der Konkretisierung der Transzendentalität, von E. Heintel.--Ontologische Erfahrung. von J. Lohmann.--Philosophie in Orient und Okzident, von S. Moser.--.

Modernism has been a celebration of the present. Why does it need a legacy ? Why should that which was born in the spirit of rebellion perpetuate itself as tomorrow’s past? Modernism has been profoundly reflective of late nineteenth- and twentieth-century cultural values. Is that not enough? It is not that modernism has forgotten the past—an art that rebels against its past must understand its adversary—but rather that it asks us not to forget the present. The revolt of modernism was (...) made possible, if not inevitable, by the rediscovery of the past. In earlier, eras, when the past was less readily accessible, artists worked for their present with little thought about their heritage. Renaissance composers, for example, generally knew little of music even two generations old; much medieval music theory and composition were based on misconceptions of Greek models. Yet by the nineteenth century, works from the past were available and understood. Virtually all composers agreed with Johannes Brahms, who reputedly said of Ludwig van Beethoven, “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” Historical consciousness had entered the arts, and artists were both threatened by competition with the past and seduced by the powerful idea that their works might outlive them. The Romantic artist became a genius speaking to posterity. Gustav Mahler was not the only Romanticist to pin his hopes on the future: “My time will yet come.” Small wonder that, once the future came to be, its artists rebelled against pronouncements from their past—the time rightfully belonged to them and no longer to Mahler’s generation. While many twentieth-century artists continued to create for their future, the most extreme modernists rejected not only their past but also the quest for immortality. They have written of their day and for their day. The real legacy of modernism is that it has no legacy. Jonathan D. Kramer is professor of music theory and composition at the College-Conservatory of Music at the University of Cincinnati and also program annotator and new music advisor of the Cincinnati Symphony Orchestra. He is currently working on Time and the Meanings of Music . His previous contribution to Critical Inquiry, “New Temporalities in Music,” appeared in Spring 1981. (shrink)

Two challenges to the method of reflective equilibrium have been developed in a dispute between Michael D. Resnik and Stewart Shapiro: because the method itself involves logical notions, it can neither be specified in a logic-neutral way nor can it allow logical pluralism. To analyse and answer these claims, an explicit distinction is introduced between judgements held prior to the process of mutual adjustments and judgements in agreement with the systematic principles, which result from the process. It is then argued (...) that from the presystematic perspective, the method of reflective equilibrium permits developing and justifying rival logics, and hence it allows reasonable disagreement about logics; but such pluralism is no longer available from the perspective of fully developed logical systems. (shrink)

Two challenges to the method of reflective equilibrium have been developed in a dispute between Michael D. Resnik and Stewart Shapiro: because the method itself involves logical notions, it can neither be specified in a logic-neutral way nor can it allow logical pluralism. To analyse and answer these claims, an explicit distinction is introduced between judgements held prior to the process of mutual adjustments and judgements in agreement with the systematic principles, which result from the process. It is then argued (...) that from the presystematic perspective, the method of reflective equilibrium permits developing and justifying rival logics, and hence it allows reasonable disagreement about logics; but such pluralism is no longer available from the perspective of fully developed logical systems. (shrink)

K. T. Fann, Ludwig Wittgenstein: the man and his philosophy. New Jersey, Humanities Press; Sussex, Harvester Press: 1967. 415 pp. 10.50.Gerd Brand, The central texts of Ludwig Wittgenstein. Translated and with an introduction by Robert E. Innis. Oxford: Basil Blackwell, 1979. xxv + 182 pp. £ 10.00 /£3.95.Joseph Warren Dauben. Georg Cantor: his mathematics and philosophy of the infinite. Cambridge, Mass., and London: Harvard University Press, 1979. xiii + 404 pp., 4 plts. $25 US.S. Poggi, I sistemi (...) dell'esperienza. Psicologia, logica e teoria della scienza da Kant a Wundt. Bologna: il Mulino, 1977.679 pp., Lit. 12.000.Raymond Bradley and Norman Swartz, Possible Worlds. An introduction to logic and its philosophy. Indianapolis and New York; Hackett Publishing Company: Oxford; Blackwell: 1979. xxi + 391 pp. £15.00 /£4.95.S. Haack, Philosophy of logics. Cambridge and New York: Cambridge University Press, 1978. xiv + 276 pp. £ 13.50.F. J. Pelletier, Mass terms: some philosophicalproblems. Dordrecht, Boston and London: Reidel, 1979. xiii + 303 pp. Dfl. 70/$34.00.Theo A. F. Kuipers, Studies in inductive probability and rational expectation. Dordrecht, Holland and Boston, USA.: D. Reidel Publishing Company, 1978. xii + 145 pp. Dfl. 50/$22.50. (shrink)

The final chapter of Hegel’s Phenomenology of Spirit is generally considered by interpreters to inaugurate an absolute knowing that eliminates any significant opposition between subject and object. Such an understanding of Hegel, however, fails to do justice to the numerous passages in the Phenomenology in which Hegel criticizes just such a reduction of the opposed moments of spirit. In this essay, I argue for an alternative to this traditional interpretation of absolute knowing.

ContentTruth-telling is an integral part of medical practice in many parts of the world. However, recent public inquiries, including the Francis Inquiry reveal that a duty of candour in practise, are at times compromised. Consequently, the duty of candour became a statutory requirement in England. This study aimed to explore clinicians’ perspectives of the implications of the legislation for medical ethics education, as raising standards to improve patient safety remains an international concern.MethodsOne-to-one interviews with clinical educators from various specialties who (...) contribute to the MBChB programme at the authors’ university. Once data saturation had been assessed, transcripts were analysed using a thematic approach by the following concurrent activities: data reduction and coding into themes. Example quotations are used to illustrate that key themes are grounded in the data.ResultsEleven clinical educators were interviewed; three general practitioners, six physicians and two surgeons. Thematic... (shrink)

The consensus of modern opinion on the performance of this ode is that it was not a properly commissioned epinicion, but was sent spontaneously by Bacchylides in an attempt to introduce himself to Hieron. Gzella, for one, argues that many so-called epinicia were sent from poet to patron in order to impress and win commissions. Hence one finds, or so he claims, the terms , though, to be sure, commissioned epinicia were far more common.1 One could be misled here into (...) believing that these were terms used by Pindar and Bacchylides themselves. (shrink)

Hegel’s Phenomenology of Spirit presents the course through which consciousness must pass as it progresses toward true self-knowing. This process consists in consciousness’ self-examination in which its self-knowing is repeatedly compared with the object or standard of this knowing - namely, the nature or concept of spirit. Hegel presents this process, which is the very method of the Phenomenology, in the second part of the Introduction. In this paper, I will argue that only a reinterpretation of absolute knowing provides the (...) key to unlocking the secret of this method. (shrink)

According to Flay, the theme of Hegel's Phenomenology is a quest for warranted certainty of access to reality, a quest separate from, and yet essential to, the science which will "articulate the ultimate truth about ultimate reality". Such a quest requires a presuppositionless beginning, one that cannot be questioned by either the philosophical tradition or consciousness in its natural attitude. Flay proposes that Hegel achieves such a beginning, first, by not assuming absolute access to reality as an answer already given, (...) but as a problem inherited from the philosophical tradition. Flay maintains that the natural attitude has a natural certainty of access to reality. Hegel's second requirement for a presuppositionless beginning, then, consists in critically accepting the natural attitude's certainty. The quest for certainty will simply involve determining the self-warranting grounds for this certainty. (shrink)

The studies contained in this book "investigate the nexus of problems presented by the relationship between philosophical theology and philosophy of religion from the time of the first sweeping critique of speculative theology, through Hegel's attempt to restore the problem of God to a place in theoretical philosophy, down to the second effective critique of speculative theology and, at the same time, philosophy of religion". Jaeschke argues that Hegel's system unites philosophy of religion and philosophical theology; for the former presupposes (...) the existence of God, which can only be proved by the latter. Unless philosophy of religion is based on philosophical theology, religion comes to be treated merely as a manifestation of the human. Furthermore, Jaeschke claims that it is only on the basis of the philosophy of religion, the final discipline of the system, that the Logic can be viewed as philosophical theology. For it is solely in the philosophy of religion that the absolute idea, the object of the Logic, is explicated in the only form appropriate to God--namely, as the self-consciousness of absolute spirit. (shrink)

The Fifth Element (1997) is a French science-fiction film in English, directed and co-written by Luc Besson. The title and the plot of the film refer to a central notion of Greek philosophy, that is, pemptousia, or quintessence. Pre-Socratic philosophers such as Thales, Anaxagoras, Anaximenes and others, were convinced that all natural beings – in fact, nature itself – consist in four primary imperishable elements or essences (ousiai), i.e., fire, earth, water, and air. To these four, Aristotle added aether, a (...) fifth essence (pemptousia). The introduction of aether gave birth to a great tradition in late Antique and Medieval philosophy, and eventually it came to signify not an additional primary element, but the core-essence of all beings, their fundamental ontological structure. Besson’s film draws its inspiration on this philosophical tradition but its cinematographic rendering of the concept of Quintessence is typical of the contemporaneous views on the core characteristics of matters. The modernity that stimulates the film is equally anti-transcendentalist and anti-essentialist. Thus, the fifth element of the film is existentially personified and genderized making the traditional philosophical significance of the term to be adjusted by modernity in an immanent and temporal context where in addition aesthetics plays a crucial role. (shrink)

This is a masterful and insightful book written by an author well versed in both the history of philosophy and the analytic tradition. Indeed, one of Westphal’s aims is to reintegrate Hegel’s theory of knowledge into main stream epistemology. Westphal intends to study the aim and method of the Phenomenology of Spirit by means of a complete and detailed analysis and reconstruction of its introduction; however, his work is not meant to be an exhaustive treatment of the entire Phenomenology. Westphal’s (...) contention is that Hegel’s position is one of “epistemological realism,” and that “this view involves both an ontological thesis - there is a way the world is which does not depend on our cognitive or linguistic activity - and an epistemological thesis - we can know the way the world is”. Hegel thus rejects both skepticism and “subjectivism”. According to Westphal, Hegel “defends this realism by grounding it in a social and historical account of empirical knowledge”. (shrink)

This book of twelve essays applies the holistic theories of process philosophy to the educational challenges that teachers face in today's complexly changing world. Topics range from staff development to spirituality, exploring issues of student and teacher motivation, developmental stages of learning, imaginative thinking and writing, nourishing relationships, moral and environmental education, and the development of hospitable learning environments.

Structures of Subjectivity: Explorations in Psychoanalytic Phenomenology and Contextualism, is a revised and expanded second edition of a work first published in 1984, which was the first systematic presentation of the intersubjective viewpoint – what George Atwood and Robert Stolorow called psychoanalytic phenomenology – in psychoanalysis. This edition contains new chapters tracing the further development of their thinking over the ensuing decades and explores the personal origins of their most essential ideas. In this new edition, Atwood and Stolorow cover the (...) philosophical and theoretical assumptions of psychoanalysis and present a broad approach that they have designated phenomenological contextualism. This approach addresses personal subjective worlds in all their richness and idiosyncrasy and focuses on their relational contexts of origin and therapeutic transformation. Structures of Subjectivity covers the principles guiding the practice of psychoanalytic therapy from the authors' viewpoints and includes numerous detailed clinical case studies. The book will be essential reading for psychoanalysts, practitioners of psychotherapy, psychiatrists, psychologists, counselors, and social workers. It will also be of interest to scholars and students with an interest in psychoanalytic theory and practice, and its philosophical premises. (shrink)

Cell proliferation in response to growth factors is mediated by specific high affinity receptors. Ligand‐binding by receptors of the protein tyrosine kinase family results in the stimulation of several intracellular signal transduction pathways. Key signalling enzymes are recruited to the plasma membrane through the formation of stable complexes with activated receptors. These interactions are mediated by the conserved, non‐catalytic SH2 domains present in the signalling molecules, which bind with high affinity and specificity to tyrosine‐phosphorylated sequences on the receptors. The assembly (...) of enzyme complexes is emerging as a major mechanism of signal transduction and may regulate the pleiotropic effects of growth factors. (shrink)

Verene's book reveals an intriguing view of the Phenomenology which should be welcomed by serious students of Hegel. As the title indicates, Verene focuses primarily on the role of recollection and imagery in the Phenomenology. He argues that there is a dialectical tension in Hegel's book between Bild and Begiff. By Bild, Verene means any thought or language based on images or tropes, as opposed to the discursive thought and language of speculative knowing through which alone the Begriff can be (...) adequately comprehended. Recollection functions solely in the medium of Bild; and such imagistic presentation, Verene maintains, provides the indispensable initial access to the Begriff which is subsequently grasped by speculative knowing. (shrink)

In accordance with the purpose of the series Traditio Praesocratica, the present volume, the first in the series, contains the most complete collection ever assembled of the documentary evidence on Thales of Miletus. Approximately 600 texts, dating from the sixth century BCE to the fourteenth century CE, are presented in chronological order, both in the original language (Greek, Latin, Arabic and Persian) and in a facing English translation. The original-language texts are reprinted (with corrections) from Georg W hrle's edition (...) (2009). Several texts discovered since the publication of the 2009 edition are included. The English translations were made by Richard McKirahan from the original texts. Differences between the German and the English translations are noted. An index of names and extensive glossaries and word indexes of the texts and translations are provided. (shrink)

La supposition d’un antagonisme entre art et marché ne va pas de soi. Le fonctionnement intrinsèque de la culture représente un système de marchés – même s’il ne s’agit pas toujours de marchés commerciaux. Dans nos sociétés de l’information et des médias, une part considérable des produits de consommation courante tombe sous la rubrique de la consommation culturelle. Les marchés culturels ont toujours été de ce type : on y offre de l’information qui est payée, en contrepartie, sous forme d’attention. (...) Cet article explore quelques-unes des implications de tels entrecroisements. (shrink)