I am grateful to the National Endowment for the Humanities for a year-long fellowship that enabled me to write major portions of this book; ...

How on Earth can Humans be perfect? The striving for perfection has always occupied a central place in ancient Greek culture. This dynamics urged the Greeks on to surpass themselves in different fields, from sculpture and architecture over athletics to philosophy. In this volume, an international group of scholars examines how the ideal of perfection was conceived and pursued in Late Antiquity, both within philosophical circles and Christianity. Their studies yield a fascinating panorama of various attempts to bridge (...) the unbridgeable and assimilate our frail, imperfect human nature as far as possible to divine perfection. (shrink)

This book explores the relationship between modern technological progress and classical liberalism. The compatibility of classical liberalism and technology is questioned, using fiction and film as a window into Western society’s views on politics, economics, religion, technology, and the family.

This book investigates the turning point that occurred in the middle of nineteenth-century France when utopia shifted from its literary ambitions to a social-scientific concept aimed at laying the grounds for a better, fairer society. By using passions as the central focus, the author's aim is to circumscribe what he calls the utopian "afterlife" that characterizes fin de siècle France and evolved as dystopia later on in the twentieth century. Indeed, the scope of the book runs through a corpus representing (...) the nineteenth century from Romanticism to fin de siècle literature. The introduction exposes very thoroughly the contextual emergence of utopias in nineteenth-century France and seeks to position them within... (shrink)

This article provides a reading of al-Fārābī's (d. 950) thought on the soul in the context of the theory of perfection. Although al-Fārābī's theory of the soul has been the subject of various studies and the importance of the subject of perfection in al-Fārābī's philosophy has been revealed, how this subject pervades al-Fārābī's narrative and philosophy in general has not been shown in detail through texts with a phenomenological approach. With phenomenological approach here, the article aims to analyze (...) the problem through al-Fārābī's lens in reference to his texts. This article seeks to contribute to the literature to show how the issue of perfection is embedded in the theory of the soul and the classification of sciences. For this purpose, issues such as the theory of degrees, which permeate the whole of al-Fārābī's philosophy, are also examined in the context of the idea of perfection and tajawḥur.The article's main problem is determining how al-Fārābī's approaches in the theory of the soul are shaped through the idea of perfection. In this con-text, the main argument of the article is as follows: Al-Fārābī combines the material and immaterial aspects of the soul by emphasizing the concept of substantialization (tajawḥur) in his theory of the soul and constructs a theory that should be called the dynamic theory of the soul. The claim put forward in this study is that the idea of perfection is a theory that affects the whole of al-Fārābī's philosophy and should be the basis for the interpretation of al-Fārābī's philosophy. Although this issue has been analyzed from different perspectives, this study's main problem is showing how the idea of perfection permeates the theory of the soul and how it affects al-Fārābī's preferences. In this respect, a close reading of al-Fārābī's texts on the subject has been conducted to justify this claim. While this reading is carried out in the context of the soul's relation with matter and its perfection through the sciences, the issue of happiness as the soul's ultimate goal is left out due to its complexity that would require a separate study.In this framework, the study first shows how al-Fārābī constructs the idea of substantialization (tajawḥur). Subsequently, the article focuses on the description of substantialization through the intellect. Al-Fārābī's explanations in the context of the concept of ḳuwwa are also examined in terms of the role this critical concept plays in the process of substantialization of the soul and intellect. This is because al-Fārābī interprets the Aristotelian meaning of the concept of potentiality by explaining this concept in a way that regulates the soul's transformation processes. This study emphasizes that al-Fārābī's interpretation is shaped within the framework of his dynamic theory of the soul.Al-Fārābī grounds the process of the soul's coming into existence in terms of being an intermediate being between material and immaterial existence. This justification is important in terms of observing al-Fārābī's position vis-à-vis dualist and materialist conceptions of human beings. Al-Fārābī adopts neither a fully dualist nor a fully materialist approach. The point emphasized in this study is that this approach gives al-Fārābī's theory of the soul a dynamic character. On the other hand, al-Fārābī clearly emphasizes that intellectual perfection is realized through the sciences. In this respect, the substantialization of the soul through the intellect also manifests itself as a scientific perfection. For al-Fārābī, the science of logic constitutes the dynamo of the perfection of the faculty of thinking. In this respect, al-Fārābī's classification of sciences is based on the idea of perfection. (shrink)

The aim of this article is both to make a contribution towards a fuller understanding of the use of the perfect in Classical Greek, and to show how this understanding can yield new insights into how a speaker uses language to adapt his presentation of past events to his present rhetorical concerns. First, the semantic value of the perfect and its different basic uses are described. Second, four principles that help accounting for the variation between the perfect and aorist are (...) outlined. Third, a number of typical uses of the perfect in Attic forensic oratory are distinguished. Finally, a textual analysis of De Corona 57-60, 79-121 is given in order to show how Demosthenes uses the perfect to accomplish his rhetorical ends. (shrink)

In her book Forms in Early Modern Utopia: The Ethnography of Perfection, Nina Chordas challenges the idea that early modern utopia literature is a fictional literary genre. She argues that utopia literature should be considered a conglomeration of genres with a hybrid life, that is, as both fiction and real-life phenomenon in the early modern period. Her aim is to show that the development of utopia as a genre in the sixteenth and seventeenth centuries was a response (...) to the convergence of specific social and historical forces and as such may be considered a social as well as a literary phenomenon. Chordas accomplishes this aim by considering prose texts written between 1516 and 1666. Her study begins with Thomas... (shrink)

: In Research on Religious Funerary Documents in China, the author studies the religious funerary documents used at funerals for more than two thousand years from the Warring-States period to the present with the truth-seeking and objective attitudes. Besides some criticisms and reasonable doubts, he points out that the previous articles present a somewhat lopsided view with prejudice when the scholars interpret the existing literature. He further explores the underlying implications of the archaeological materials based on studying large numbers (...) of references. In this way, reliable conclusions are obtained with rigorous academic attitude. Resumo: Em Research on Religious Funerary Documents in China, o autor adere às atitudes objetivas e de busca da verdade e questiona as ideias dos principais estudiosos, ao analisar os documentos funerários religiosos usados em funerais por mais de dois mil anos, desde o período dos Estados Combatentes até o presente. O autor critica os pontos de vista de alguns estudiosos famosos e apresenta dúvidas razoáveis a esse respeito. Ele ressalta que seus artigos exibem uma visão um tanto desigual e preconceituosa, na interpretação da literatura existente. Ele ainda seleciona a literatura para um nível mais profundo e explora as implicações subjacentes dos materiais arqueológicos. Dessa forma, são obtidas conclusões, mostrando a abordagem acadêmica dos autores. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Literature in MindH. G. Wells and the Evolution of the Mad ScientistAnne StilesIn 1893, H. G. Wells's article "Man of the Year Million" dramatically predicted the distant evolutionary future of mankind:The descendents of man will nourish themselves by immersion in nutritive fluid. They will have enormous brains, liquid, soulful eyes, and large hands, on which they will hop. No craggy nose will they have, no vestigial ears; their (...) mouths will be a small, perfectly round aperture, unanimal, like the evening star. Their whole muscular system will be shriveled to nothing, a dangling pendant to their minds.2The editors at Punch evidently found this prediction hilarious, publishing a poem and accompanying sketch ridiculing Wells's lopsided future humans (Figure 1, p. 318). But not everyone was laughing.As ridiculous as Wells's bodiless, large-headed "human tadpoles" may seem, they were based on the most rigorous evolutionary science of their day. Wells, a lower-middle-class academic prodigy, received a prestigious [End Page 317] Click for larger view View full resolutionFigure 1."1,000,000 A.D.," Punch, or the London Charivari, 25 November 1893, 250.[End Page 318]government scholarship to attend the Normal School of Science in South Kensington (later absorbed into the University of London). Though Wells left South Kensington in 1887 without earning his degree, he was greatly inspired by his biology teacher, famed physiologist Thomas Huxley. Wells absorbed Huxley's pessimistic take on late-Victorian evolutionary theory, particularly his emphasis on the inherent brutality of natural selection.Huxley's pessimism surfaces in Wells's dystopian scientific romances, which imaginatively probe the consequences of evolutionary theory run amok.3 Beginning with the eponymous mad-scientist villain of The Island of Dr. Moreau (1896) and continuing with alien invasion narratives like The War of the Worlds (1897–98) and The First Men in the Moon (1901), Wells depicts brains becoming steadily larger and more powerful as bodies grow smaller and more useless, emotions increasingly muted, and conscience all but silenced. Wells's nightmarish vision of the massively over-evolved brain unites these three works, as the ruthlessly intellectual biologist Moreau morphs into the amoral, top-heavy Martians and lunar inhabitants.Wells's malevolent mad scientists and extraterrestrials owe an intellectual debt not only to Huxley, but also to discussions of genius and insanity in late-Victorian issues of Mind (1876–present).4 The now-familiar trope of the mad scientist in fact traces its roots to the clinical association between genius and insanity that developed in the mid-nineteenth century. Authors like Scottish journalist and materialist philosopher John Ferguson Nisbet, English eugenicist Francis Galton, and Austrian Jewish physician Max Nordau—all of whose works were reviewed in Mind—argued that mankind had evolved larger brains at the expense of muscular strength, reproductive capacity, and moral sensibility.5 Wells drew upon these arguments in his fiction and even contributed his own article to Mind, a philosophical reflection on science entitled "Scepticism of the Instrument" (1904).In its unique role as "the first English journal devoted to Psychology and Philosophy." Mind was an ideal venue for an inherently interdisciplinary [End Page 319] subject like the clinical study of genius.6 The journal's first editor, George Croom Robertson, was particularly concerned that articles in Mind rise "above the narrowing influences of modern specialism."7 This disciplinary breadth attracted contributors from all fields, including fiction writers and literary critics like George Henry Lewes, Grant Allen, Andrew Lang, and, of course, H.G. Wells. During the same period, literary works probed ideas discussed in Mind, such as the nature of the soul, the possibility of free will, and the ramifications of biological determinism. In the four decades following its auspicious start, Mind provided a venue where scientists, philosophers and literary authors could find intellectual common ground.In this essay, the early fiction of H.G. Wells will serve as a case study of cross-fertilization between literature and scientific ideas discussed in Mind. The goals of this exploration are threefold: to gain a better understanding of the journal's history and influence; to investigate why Victorians associated genius with insanity; and to illuminate the shared... (shrink)

To compare a novel to a work of philosophy is, admittedly, a risky exercise in analogy. When the novelist is Lawrence and the philosophical text is the ponderous and dialectical Being and Nothingness, such a comparison may seem willfully perverse and peculiarly open, insofar as it deals with Lawrence's great theme of sexuality, to his anathema of "sex in the head." Furthermore, modern criticism, especially in the Anglo-Saxon world, has tended to be wary of critical approaches that lean on notions (...) that are not derived from literature itself - a tendency that is being reinforced these days by the structuralist insistence on the "literariness" of the Text. Now, despite its metaphorical statement as a form of dramatic "gesture," Sartre's book is very definitely not a work of literature. T.H. Adamowski, associate professor of English at Erindale College, the University of Toronto, has written articles on English, American, and French literature. This essay is part of a larger study on progress on Lawrence's "sexual poetics.". (shrink)

In this article, we present a new logical framework to think about surprise. This research does not just aim to better understand, model and predict human behaviour, but also attempts to provide tools for implementing artificial agents. Moreover, these artificial agents should then also be able to reap the same epistemic benefits from surprise as humans do. We start by discussing the dominant literature regarding propositional surprise and explore its shortcomings. These shortcomings are of both an empirical and a (...) conceptual nature. Next, we propose a philosophical solution to the problems that ail these systems, based on the notion of issue of epistemic interest. Finally, we give a formal framework to think about surprise. More specifically, we develop a probabilistic dynamic epistemic logic that succeeds at formalizing the relevant philosophical concepts. This will be done through an issue management system grounded in topology. As an added bonus, the additional expressive power allows us to capture a richer variety of scenarios, and it also enables a more careful analysis of said scenarios. (shrink)

Jorge J. E. Gracia, was born in Cuba in 1942. At age 19, he escaped Cuba and arrived in the United States. In 2019, 58 years later, in a nation which, prior to his arrival in North America, had no major Latino cultural presence in higher education and philosophy, Gracia rose to hold the Samuel P. Capen Chair and State University of New York at Buffalo Distinguished Professor of Philosophy and Comparative Literature. In this position, he became the leading (...) figure to institutionalize Latin American philosophy in the U.S. academy and an internationally-renowned scholar in medieval philosophy. Jorge J. E. Gracia died in the United States on July 13, 2021. In this paper the author shows that what properly explains the philosophical and adult-personal life of Gracia is the Thomistic principle of virtual quantity. He contends that the only way to understand Gracia’s personal and philosophical life is to grasp this life as one of an organizational psychologist pursuing perfect self-realization in action and understanding: someone chiefly interested in intellectually grasping precisely how organizational wholes (including his own psyche) become united and divided, and operate when so united and divided. (shrink)

During the nineteenth and early twentieth centuries, a wide variety of American writers proposed the existence of energies connecting human beings to cosmic processes. From varying points of view--scientific, philosophical, religious, and literary--they suggested that such energies would eventually result in the perfection of individual and collective bodies, assuming that assimilation into larger networks of being meant the expansion of humanity's powers and potentialities--a belief that continues to inform much posthumanist theory today. Universes without Us explores a lesser-known countertradition (...) in American literature. As Matthew A. Taylor's incisive readings reveal, the heterodox cosmologies of Edgar Allan Poe, Henry Adams, Charles Chesnutt, and Zora Neale Hurston reject the anthropocentric fantasy that sees the universe as a kind of reservoir of self-realization. For these authors, the world can be made neither "other" nor "mirror." Instead, humans are enmeshed with "alien" processes that are both constitutive and destructive of "us." By envisioning universes no longer our own, these cosmologies picture a form of interconnectedness that denies any human ability to master it. Universes without Us demonstrates how the questions, possibilities, and dangers raised by the posthuman appeared nearly two centuries ago. Taylor finds in these works an untimely engagement with posthumanism, particularly in their imagining of universes in which humans are only one category of heterogeneous thing in a vast array of species, objects, and forces. He shows how posthumanist theory can illuminate American literary texts and how those texts might, in turn, prompt a reassessment of posthumanist theory. By understanding the posthuman as a materialist cosmology rather than a technological innovation, Taylor extends the range of thinkers who can be included in contemporary conversations about the posthuman. (shrink)

Hans Blumenberg’s work is characterized by a seemingly insatiable predilection for anecdotes — about Thales and Pyrrhus, Goethe and Fontane, Husserl and Wittgenstein, Polgar and Jünger. This essay explores the theoretical status of anecdotes by juxtaposing Carl Linnaeus’s Nemesis Divina with Blumenberg’s Care Crosses the River, both read alongside Aristotle’s notion of exemplarity and Joel Fineman’s delineation of the anecdote as the literary-historical form for expressing contingency. As a mode of thought at the nexus of literature and experience, anecdotes (...) immediately pose the question of evidence. Even if true, an anecdote opens the issue of whether it is the exception or the norm, whether it only speaks for itself or assumes exemplary force, and what such exemplarity might mean. By juxtaposing two theorists qua anecdotists — Carl Linnaeus and Hans Blumenberg — this essay aims to show the inextricable relation between anecdote and example, and thus between anecdote and rhetoric, a counterpart and supplement to the poetics of metaphor within what one can call with Blumenberg a theory of nonconceptuality. (shrink)

This article is about the place of kalām (theology) within the general structure of al-Fārābī's metaphysics. In this framework, the article consists of two parts. The first part examines the position of metaphysics within the framework of al-Fārābī's idea of perfection. In the second part, a close reading of al-Fārābī's al-Ibāna ʿan ġarażi Arisṭuṭālīs fī kitābi mā baʿda al-ṭabīʿa is made and al-Fārābī's approach to the theoretical aspect of theology within the theory of milla is analyzed. Since al-Fārābī's theories (...) of perfection and meaning are the theories that affect a major part of his philosophy, the article shows the effects of these two theories on al-Fārābī's analysis of metaphysics without examining their general position in al-Fārābī's philosophy. In this framework, the article examines the idea that al-Fārābī's metaphysics should be evaluated in view of the background of his theories of perfection and meaning, based on the secondary literature on the subject. As evidence for this claim, al-Fārābī's description of the philosophical sciences as the steps of intellectual perfection is shown in the article. The article emphasizes that al-Fārābī's evaluations of the relationship between kalām and metaphysics are based on the theory of perfection. A close reading of the relevant passages in Taḥṣīl al-saʿāda, Treatise on Intellect (Risāla fi-l ‘aql), and Kitāb al-Ḥurūf shows how al-Fārābī's theories of perfection and meaning form the background of his analysis of metaphysics through the philosopher's arguments. On the other hand, the article shows how al-Ibāna might be understood within al-Fārābī's metaphysical construct by showing the extensions of the theories of perfection and meaning in this work. For al-Fārābī, metaphysics, which constitutes the last step of intellectual perfection, is also the highest science. This process is indicated by the concept “al-naẓar al-ilāhī” (divine thinking/thought). In this framework, kalām cannot gain the title of metaphysics because it is a science that does not emerge in the course of intellectual perfection. In this article, this approach is justified by considering the relevant passages in al-Ibāna. Al-Fārābī's distinction between the science of divine oneness (tawḥīd) and metaphysics in this work has been a subject of debate among scholars. Regarding what al-Fārābī meant by the definition of universal knowledge, the article emphasizes that the relationship of metaphysics with the theories of perfection and meaning influenced al-Fārābī's approach to universal knowledge. In the last part of the article, al-Fārābī’s theory of milla is considered in the context of the theory of meaning. For this aim, the article suggests that al-Fārābī’s idea of milla as a copy or similitude of philosophy makes the science of kalām an intermediate science that acts between the verbal and the philosophical areas of meaning. (shrink)

At first glance it might appear that experimental philosophers and feminist philosophers would make good allies. Nonetheless, experimental philosophy has received criticism from feminist fronts, both for its methodology and for some of its guiding assumptions. Adding to this critical literature, I raise questions concerning the ways in which “differences” in intuitions are employed in experimental philosophy. Specifically, I distinguish between two ways in which differences in intuitions might play a role in philosophical practice, one which puts an end (...) to philosophical conversation and the other which provides impetus for beginning one. Insofar as experimental philosophers are engaged in deploying “differences” in intuitions in the former rather than the latter sense, I argue that their approach is antithetical to feminist projects. Moreover, this is even the case when experimental philosophers deploy “differences” in intuitions along lines of gender. (shrink)

The Kālacakra tradition positions itself in the philosophical system of Madhyamaka, from whose perspective it criticizes the doctrinal tenets of Hindu philosophical schools and of Buddhist schools other than Madhyamaka. The concept of emptiness is the most essential tenet of the Kālacakratantra practice. Before analyzing the practical applications of the doctrine of emptiness in the Kālacakra tantric tradition, it may be useful to examine first the ways in which emptiness is defined and explained in this tantric system. Diverse manners of (...) explaining emptiness result from the various contexts in which this tradition applies and actualizes the doctrine of emptiness. In conclusion, one can say that the sole purpose of the intricate system of the Kālacakratantra's yogic practices is to awaken the yogi to the gnosis of emptiness. The tantra's expositions on emptiness are adopted from the Perfection of Wisdom literature and from Madyamaka. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Imperfect Men in Perfect Societies:Human Nature in UtopiaGorman BeauchampIUtopists view man as a product of his social environment. Nothing innate in the psychic make-up of man—no inherent flaw in his nature, no inheritance of original sin—prevents his being perfected, or at least radically ameliorated, once the social structure that shapes character can be properly reordered. Utopists, in short, deny that there is such a thing as "human nature"—if, as (...) John Plamenatz suggests, to say that something is human nature is just another way of saying that it cannot be changed.1 To accept the psychic constitution of man as fixed, immutable, is anathema to utopists, who agree rather with Ortega y Gasset: "Man has no nature. What he has is history."2 The social conditions that have obtained historically, that is to say, have made man what he has been—anything but utopian; but if man's history could be changed, so could his "nature." The idea of Progress, so pervasive in the West from the seventeenth century on, lends some credence to this contention. W. D. Howells's Altrurians, their creator notes, "get some sad amusement out of the fact that the capitalist world believes human nature cannot be changed, though cannibalism and slavery and polygamy have all been extirpated in the so-called Christian countries, and these things were once human nature, which is always changing...."3 Utopia is merely a means, then, of imaginatively expediting, directing, culminating the historically progressive creation of a morally exemplary race of men.The environmentalist psychology espoused by utopists springs from one of two anterior assumptions (although in the creation of many fictional idola the distinction between them is often blurred). The first [End Page 280] assumption is formulated most famously by Rousseau in the Discourse on Inequality: that "man is naturally good, and only by his institutions is he made bad."4 The second assumption is formulated most famously by Locke in the Essay Concerning Human Understanding: that the mind—and by extension the character—is a tabula rasa that takes impression from the stimuli exerted by the external world and thus is neither innately good or bad, but plastic, malleable.5 An intriguing conflation of these two theories operates, for instance, in the psyche of the monster in Mary Shelley's Frankenstein. In the long middle section of the book, where the monster's side of the story is presented sympathetically, his character develops in a text-book demonstration of Lockean psychology; yet, at the same time, this lumbering tabula rasa quivers with enough benevolence (the implausible provenance of which mystifies) to put most saints to shame. He becomes evil and destructive only after being persecuted unmercifully for his misshapen appearance.6 Indeed, the criminal career of Mary Shelley's monster rehearses the common utopian argument that society's injustice to man (or monster) is the source of his crimes. "With our present state of society," writes James Casey in A New Moral World (1885), "we manufacture criminals and then punish them for being so."7 H. G. Wells, in A Modern Utopia (1905), concurs: "Crime and bad lives are the measure of the State's failure, all crime in the end is the crime of the community."8 And both are but restating the charge of Sir Thomas More's Raphael Hytholoday, leveled several centuries earlier in the original Utopia (1519): "If you allow people to be badly brought up and their habits to be corrupted little by little from childhood and if you then punish them for crimes to which their early training has disposed them, what else is this, I ask, but first making them thieves and then punishing them for it?"9 Evil deeds, then, to reiterate the utopist's point, result not from some vicious mole in human nature, but from the malfunctioning of society itself. Utopia, by contrast, is—or theoretically ought to be—a world without crime.Rousseau's concept of the innate goodness of man and the evil of his institutions most often informs primitivist models of utopia, exotic worlds inhabited by noble savages uncorrupted by civilization. The idealized Indians of Montaigne's essay... (shrink)

The article concentrates on a key concept of the Fin de Siecle in Europe – namely, “dilettantism” and its connection with Czech Decadent literature. Dilettantism, as explained by Paul Bourget in his essay on Ernest Renan , is characterized by the individual’s refusal to forego any possible experience by adhering to a setmode of life. The “dilettante critic” originates in the idea of the “critic as artist” as developed by Oscar Wilde, who in turn is indebted to Pater’s conception (...) of the “aesthetic critic.” In dilettantism there are many pitfalls: the dilettante may be the perfect embodiment of the “Decadent” type with his Willenskrankheit, hypertrophied analysis, over-refinement, hyper-aestheticism, eclecticism, and sterility. Arnošt Procházka , for instance, applies the term “dilettante” to Andrea Sperelli , modelled on Huysmans’s Des Esseintes. The controversies over Dilettantism appear here as an expression of an exclusive concern with “life,” a concept that a cornerstone of philosophical debate of the period. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cervantes in Italy:Christian Humanism and the Visual Impact of Renaissance RomeFernando CervantesToward the end of 1569, shortly after his twenty-second birthday, Miguel de Cervantes arrived in Rome to serve as chamberlain to the young monsignor Giulio de Acquaviva, soon to be made a cardinal by Pope Pius V.1 The event marked the beginning of a six-year sojourn about which surprisingly little is known with certainty. From scattered semiautobiographical references (...) we can infer that Cervantes traveled widely and that he developed a particular fondness for Italy. We know for sure that he fought bravely against the Turks at the battle of Lepanto in 1571, where he received wounds that rendered his left arm useless for the rest of his life, and that he remained in service as a soldier, based in Italy, until his ill-fated attempt to return to Spain in 1575. Ten years later, in the dedication of his pastoral romance La Galatea to Ascanio Colonna, he reminded his dedicatee that the reverence he had for him did not only stem from having served under his illustrious father, the famous general Marco Antonio Colonna, but also from the many things that he had heard Cardinal Acquaviva say, "like prophesies," about him in Rome. There follows a brief encomium about the "noble virtues," "magnificence," "goodness," and "Christianity" that sustain the "clear and generous line" of the Colonnas, known to all for the "virtuous and heroic deeds" that have been their mark since time immemorial.2 Some of Cervantes's best lyric poetry dates from these years. In it, as in the rest of his work, the unmistakable mark of Petrarch, Boccaccio, Sannazaro, Ariosto, and Bembo, to name but the most explicit ones, leaves us in little doubt about his genuine love of Italian literature.For good reasons, modern biographers have been loath to take these scattered [End Page 325] references too candidly. Can we, for example, assume that Cervantes had more than a very superficial acquaintance with the Colonnas and the Acquavivas? Could a writer still widely regarded as a self-taught, untutored mind realistically have attracted the favors of some of the most illustrious Roman and Neapolitan noble families? More pointedly, is it safe to take the varied and abundant observations about Italy scattered throughout his works as reliable reflections of his own personal experiences? After all, between the latter and the written page there is a time lag often approaching forty years. Add to this the weight of subsequent intellectual influences and of literary conventions, of novelistic invention and of the viewpoints of the characters themselves, and we are left on rather shaky ground. As Jean Canavaggio has remarked, it is not Cervantes the keen visual observer, but rather Cervantes the devoted reader of Boccaccio and the novellieri who brings Italy and Italian themes into his fiction. Even the memorable descriptions of Italian cities to be found in some of his novelas are rather formulaic passages, perfectly in tune with the rhetorical canons of the time.3Our topic, however, is not biography but intellectual history; and here we can afford to be more candid. There can be no doubt that many of Cervantes's descriptions have the unmistakable ring of genuine experience. Take Tomás Rodaja's arrival, "soaked, sleep-deprived and with bags under the eyes," in Genoa's "sheltered Mandraccio,"4 where he becomes acquainted withthe smoothness of the Trebbiano, the fullness of the Montefiascone, the strength of the Asperino, the generosity of the Greeks Candia and Soma, the grandeur of the one from the Five Vineyards, the sweetness and mellowness of the lady Vernaccia, the rustic touch of the Centola, while the lowly one from Rome dared not appear in the presence of such illustrious gentlemen.5Charmed by the gallantry of the Genoese, Rodaja leaves by land for Rome, "the queen of cities and mistress of the world." "Just as the size and ferocity of a lion can be gauged by its claws," Cervantes observed,so Rome's greatness became manifest by its broken marbles, its statues..., its fallen arches and ruined baths, its magnificent porticoes and large amphitheatres, its famous and sacred river whose waters... (shrink)

While Julian S. Huxley’s role in the Eugenics Society is well known, the ways in which his scientific research program intimately intertwined with his broader social views is sometimes overlooked. This paper analyzes Huxley’s earlier and later research centering Individual (1912) and Modern Synthesis (1942) as two case studies in the context of his larger body of work. There currently exists much exceptional literature on Huxley, which is incorporated and reviewed as much as possible. That literature explores the (...) connection between Huxley’s biological views and social views, but there is more to say about the nature of that connection warranting a return to the details of his research program. Huxley aimed to establish the biologist’s role for engineering human evolution towards sets of ideals conceived by the educated elite. (shrink)

The definition of a perfect gas mixture varies substantially within the chemistry textbook literature. A recent International Union of Pure and Applied Chemistry (IUPAC) definition is here criticised as being insufficient to cover properties traditionally associated with such mixtures. Possible supplements to the definition to rectify the deficiency are considered. An alternative definition in molecular terms is shown to be comprehensive. The paper should serve as a summary of the properties of a perfect gas mixture and of essential components (...) of its definition. (shrink)

That is addressed by the construction of large exemplary structures of comparison and contrast in the shank of the book.

The article discusses the notion of metrical dualism as a phenomenon of the reader’s perception of verse. The author analyzes the prosody and metrics of Marina Tsvetayeva’s poems “Неподражаемо лжет жизнь” (“How perfectly deceitful life is ….”, 1922). However, the aim of this study is not to interpret the metre of Tsvetayeva’s verse, but rather to obtain a model of reading verse and thus show how the reader’s perception of metre changes. Thus, the author consciously has not considered the metric (...) or the logaoedic interpretations of this poem, while approaching the text from the point of view of the reader’s perception which is always aimed at the revealing of symmetric structures. This approach makes it possible to take into account such aspects as the variety of metric interpretations, the dynamic development of verse metre, the internal and external metrical boundaries in text, etc. The analysis of Tsvetayeva’s verse reveals the interaction of two rhythmic patterns in the text, which is connected to the general meaning of the poem that tells the reader about the deceitfulness of life. (shrink)

In the wake of the brave voices of the #metoo movement, Buddhist responses to sexual abuse have led to important questions about Buddhist sexual ethics and the female consort in Tibetan cultures. One issue raised by current debates is the question of who is an appropriate consort, a discourse that has historical precedent. These debates highlight the gaps left by the understudied history of consorts in Tibetan tantric communities. This research addresses that history through a study of female consort discourse (...) in key scriptures of the Great Perfection from the fourteenth century. The text studied is The Ḍākki’s Path and Fruit, which is part of a corpus known as The Seminal Heart of the Ḍākinī. The scriptures are analyzed in terms of taxonomic discourse, interpreted with attention to structures of knowledge production as described by Foucault. It addresses the discursive transformations that facilitated the inclusion of women in the androcentric world of esoteric Tibetan Buddhism. Overall, the argument is made that this scripture sheds light on how knowledge of women and sexuality was constructed in a web of ever-changing, contradicting, competing discourses that reflect an ambivalent misogyny that simultaneously promoted and subjugated women. (shrink)

In this volume Paul Formosa sets out a novel approach to Kantian ethics as an ethics of dignity by focusing on the Formula of Humanity as a normative principle distinct from the Formula of Universal Law. By situating the Kantian conception of dignity within the wider literature on dignity, he develops an important distinction between status dignity, which all rational agents have, and achievement dignity, which all rational agents should aspire to. He then explores constructivist and realist views on (...) the foundation of the dignity of rational agents, before developing a compelling account of who does and does not have status dignity and of what kind of achievement dignity or virtue we, as vulnerable rational agents, can and should strive for. His study will be highly valuable for those interested in Kant's ethical, moral and political philosophies. (shrink)

It is sometimes assumed that the best people—those whom it would be appropriate to admire and emulate—ought to be free of all moral defects. Numerous contemporary scholars have attributed this assumption to the early Confucian philosophers with moral perfection said to be a necessary condition for sagehood. Drawing upon the early Confucian literature I will argue in support of two claims. The first is that the early Confucians did not insist on the moral perfection of the sage; (...) on the contrary, the sage was explicitly understood to be morally fallible. The second claim is that the early Confucians were right to reject moral perfection as a suitable ideal. I conclude with a discussion of the relative merits of taking “love of learning” (haoxue好學)—rather than moral perfection—as one’s ideal. (shrink)

Using qualitative data, this article makes a substantive and formal contribution to the growing academic literature on bodybuilding and the sociology of the body. Placing a question mark against existing knowledge claims, it argues theories ascribing bodybuilding to antecedent predispositions are not sufficient when accounting for the ongoing variable project of creating `the perfect body'. It is asserted that physique bodybuilding (as opposed to weight-training) in the late 1990s could be independent of the `masculinist imagery' of `the muscular body' (...) alongside feelings of gender and personal insecurity, but is increasingly dependent upon an acquired `ethnophysiological' appreciation of `excessive' muscularity. This phenomenological argument, which asserts the agency of bodies in social processes, focuses upon male participants' spatially and temporally contingent heterogeneous body-projects. (shrink)

This unorthodox volume of related literary-philosophical essays is sure to ruffle a few feathers by making merry with the styles of philosophy fashionable today, and in each of the last four decades. Beginning with a strictly formalistic treatment of the relationship of perfection of form to truth of content in literature, Watson (author of the widely reviewed work, The Philosopher's Diet) comes full circle to a concluding essay in which the content of life is unraveled as a pig's (...) meaningless "tale." In between, the reader is taken on a Cook's Tour of hopping and skipping, meaning, seducing, dying, and dreaming in such alluring essays as "The Seducer and the Seduced," "Ape Dreams," and "A Pig's Tail." The chapters focus on one or more fundamental arguments so dear to philosophers of many stripes, but are written with an attention to style not found in conventional philosophy. Writing in a discipline for which a robust sense of humor applied to the pursuit of "serious" philosophy is apt to mean professional oblivion, Watson aims his wittiest salvos at the Dogmatic and Edifying Intent of popular philosophical objectives. He highlights the stylistic conceits and ambiguity that often turn quite ordinary statements into ponderous pendantics. Are these pieces parodies or not? Does Watson really hold the positions he sets forth, or is he making lighthearted fun? Yes! The Philosopher's Joke will amuse and delight, frustrate and annoy, but above all, it will make readers think. (shrink)

It is widely acknowledged that two methods of writing have emerged in the history of usūl literature: Juristic method (usūl al-fuqahā) and theological method (usūl al-mutakallimīn). Although there are some attempts to determine the typical features of these methods, we do not have a comprehensive explanation regarding the criteria of this distinction, the motivation behind it and the period when these methods have become prevalent. This paper aims to shed light to certain dimensions of the issue and focuses especially (...) on the impact of juristic disputations and khilāfiyāt on the emergence of juristic method. The discussions about the sources and methods of religious knowledge were a significant part of the heated intellectual debates in the early period of Islamic scholarships. These discussions made by scholars interested in theological matters in kalām context were the matters of usūl, which would have turned into a separate discipline thereafter. The aforementioned period also witnessed Hanafīs completing the first fiqh compilation by recording the body of masā’il in fiqh that they had developed and codified. Hanafīs then involved in the methodological discussions of theologians in the context of justifying their juristic views. The tradition of scholarly discussion that had widely contributed to the earlier period took a new dimension by the introduction of jadal to the Islamic world. First theologians and later jurists adopted the method of jadal in their debates and scholarly works. By the 4th and 5th centuries AH, fiqh became popular more than ever and promoted the juristic disputations in such a way that those disputations turned into a common and significant performance among Islamic intellectuals. Meanwhile, the khilaf genre, in which the disputed juristic matters have been discussed and justified, improved in those centuries as well. Consequently, a new method of usūl writing, namely the method of fuqahā, which can be applied in the justification of the masā’il and in juristic disputations, emerged. Thus, the first and most typical work of that method, Taqwīm al-Adilla by Dabūsī, perfectly addressed the needs of the disputation tradition in the era, by including many chapters that could be regarded as related to the substantial law and many examples from substantial law, by treating the jadal topics in qiyas and ‘illa chapters in detail and by avoiding the speculative theological disputes. Later, the method developed by Dabūsī attracted attention and many jurisprudents wrote usūl works adopting the method before the end of 5th century AH. Especially the usūl work of Bazdawī served as a model for the later Hanafī usūl literature. However, the juristic method lost its popularity when the Islamic scholarships fell under the influence of philosophy and logic after al-Gazālī and al-Rāzī. Jadal and ‘ilm al-bahth wa’l-munāzara have been treated under the discipline of logic afterwards. Nevertheless, even after the evolution of the usūl perspective, some Hanafīs still wrote usūl works by juristic method and some of them, despite adopting the new philosophical perspective, referred to the usūl of Bazdawī in their “mamzūj” (combined) usūl works. (shrink)

A logical argument known as Fitch’s Paradox of Knowability, starting from the assumption that every truth is knowable, leads to the consequence that every truth is also actually known. Then, given the ordinary fact that some true propositions are not actually known, it concludes, by modus tollens, that there are unknowable truths. The main literature on the topic has been focusing on the threat the argument poses to the so called semantic anti-realist theories, which aim to epistemically characterize the (...) notion of truth; according to those theories, every true proposition must be knowable. But the paradox seems to be a problem also for epistemology and philosophy of science: the conclusion of the paradox – the claim that there are unknowable truths – seems to seriously narrow our epistemic possibilities and to constitute a limit for knowledge. This fact contrasts with certain views in philosophy of science according to which every scientific truth is in principle knowable and, at least at an ideal level, a perfected, “all-embracing”, omniscient science is possible. The main strategies proposed in order to avoid the paradoxical conclusion, given their effectiveness, are able to address only semantic problems, not epistemological ones. However, recently Bernard Linsky (2008) proposed a solution to the paradox that seems to be effective also for the epistemological problems. In particular, he suggested a possible way to block the argument employing a type-distinction of knowledge. In the present paper, firstly, we introduce the paradox and the threat it represents for a certain views in epistemology and philosophy of science; secondly, we show Linsky’s solution; thirdly, we argue that this solution, in order to be effective, needs a certain kind of justification, and we suggest a way of justifying it in the scientific field; fourthly, we show that the effectiveness of our proposal depends on the degree of reductionism adopted in science: it is available only if we do not adopt a complete reductionism. (shrink)

This paper examines the coherence of Spinoza’s combined account of freedom, reason, and the affects and its applicability to real humans in the context of the perfectly free man Spinoza discusses towards the end of part 4 of the Ethics. On the standard reading, the perfectly free man forms the model of human nature and thus the goal to which real humans should aspire. A recently proposed non-standard reading, however, posits that the perfectly free man should not be considered the (...) model of human nature. Consolidating FRA into a system of ten theses and outlining their intricate interconnections, I argue that under both the standard and non-standard readings of Spinoza’s perfectly free man, FRA founders when applied to real humans. While it is no big news that FRA may face deep problems when applied to real humans, the paper is innovative: in the specific tensions in FRA it exposes; in the strategy deployed to expose the latter; and in showing that a recent non-standard approach to resolving these tensions is unsuccessful. Depending on the specific reading of FRA that I suggest, my critical conclusions may not apply to every reading of FRA. They nonetheless pose a serious challenge to similar readings prominent within the literature. (shrink)

Suppose, we could take a pill that would turn us into morally better people. Would we have a duty to take such a pill? In recent years, a number of philosophers have discussed this issue. Most prominently, Ingmar Persson and Julian Savulescu have argued that we would have a duty to take such a pill. In this article, I wish to investigate the possible limits of a duty to take moral enhancement drugs through investigating the related question of whether it (...) would be desirable to create a world populated entirely with morally perfect people. I argue, drawing on the work of Bernard Williams, Susan Wolf, and Michael Slote, that we have reason to be grateful that we do not live a world in which everyone is morally perfect, as this would prevent people from dedicating their lives to valuable nonmoral projects. I then argue that this thought should serve as a limitation on attempts to morally improve people through the use of technology. Finally, I explore the implications of this discussion for some of the less ambitious forms of moral enhancement currently being explored in the literature. I argue that these forms of enhancement give us no reason to worry about preventing valuable, morally imperfect ways of life. In fact, by acting as a shortcut to moral development, they might serve as an aid to help people fulfill valuable nonmoral goals in a way that is morally permissible. (shrink)

In Hegel's aesthetics, the element of speculative philosophy is always a notorious aspect that attracts the most complaints from modern art criticism. The book, however, justifies the intelligibility in art in light of Hegel's philosophy of metaphysics. The author explores the philosophical motivations of Hegelian aesthetics, its underlying logic, the relationship between metaphysical core and artistic expression, as well as the contemporary significance and value of metaphysicalised theories of art exemplified by Hegelian aesthetics. Through elucidating the metaphysical core implicit in (...) Hegel's lectures on aesthetics, this book proves that the philosophical considerations of Absolute Idealism bring to art the spiritual seriousness which the Romantics lack. Ultimately, this approach reveals the broad consensus which both Hegel's aesthetics and modern philosophical hermeneutics share, thus bridging the gap between ancient and the modern philosophy of art. The book will appeal to scholars and students studying classical German philosophy, German Romantic literature criticism, and modern art theory. (shrink)

For the past 20 years or so the literature on noncooperative games has been centered on the search for an equilibrium concept that expresses the notion of rational behavior in interactive situations. A basic tenet in this literature is that if a “rational solution” exists, it must be a Nash equilibrium. The consensus view, however, is that not all Nash equilibria can be accepted as rational solutions. Consider, for example, the game of Figure 1.

Aesthetics presents a confusing domain for a philosopher. Its territory seems like an Empedoclean cosmos: a ceaselessly dynamic interchange of mixtures, at times resisting division, at times fracturing into an incomprehensible manifold. There may be no truth in aesthetics at all. Perhaps there is not even much truth about it. Some think of aesthetics primarily as a cultural or political phenomenon, others manage to reduce it to history (indeed, to a history that is over, and therefore safe). Still others investigate (...) it from the points of view of psychology, physiology, religion, technology, or morality. These are just a few of the innumerable “discourses” of aesthetics. Within a narrow focus some of these discourses appear to be meaningful, but this appearance owes much to the artificial and conditioned structure of the conversation. When viewed from the outside, the discourses of aesthetics often appear to be little more than babble. The hypothesis that they might someday converge on a perfectly general aesthetics seems implausible, even for arts and art histories of a more or less continuous, singular culture. (shrink)

[...] it would seem natural to assume that the disciplines of literary studies and linguistics should by rights converge regularly to exchange views as each pursues its own goals. Is such a convergence possible on the question of sense and nonsense? James W. Underhill (this volume) The contributors to the present volume have focused their attention on two sets of problems that are leitmotifs in all the articles gathered. Firstly, should literary semantics - the linguistic study of texts/discourses marked with (...) the feature of 'literariness' and 'poeticalness' - strive after an interpretation of all such texts at all costs? Are all literary texts interpretable? How do we cope with such troublesome linguistic phenomena as anomaly, deviance, and absurdity? Aren't we, by any chance, fascinated by nonsense? Do we try to make it at least partly meaningful? Is interpretability our default value? The introductory article by the renowned scholar Margaret H. Freeman is an important voice, indeed a manifesto of sorts of literary semanticists in this respect. Secondly, while trying to answer all these questions, well aware of the fact that literary semantics is a fuzzy branch of linguistic studies, we have attempted at exploring its borderline zone to see to what extent we have to draw from various theoretical sources. Literary semanticists have often proved that they are capable of arguing contrastively in the atmosphere of openness to such neighbouring fields as: discourse analysis, literary pragmatics and reader-response theories, narratology, literary semiotics and hermeneutics, translation studies and - very importantly - the philosophy of language. The authors contributing to this book, an international company of regularly cooperating linguists and literary scholars, strike a nice balance between the cognitive and the more traditionally or philosophically-oriented frameworks of study, being a vivid proof that cognitive and other "denominations" are perfectly capable of fruitful coexistence. The volume ends with a short presentation by RadosÅaw Nowakowski, already known to academic and artistic audiences in Europe as a creator and propagator of liberature - the art of unusual bookmaking, the art of the book liberated from our traditional preconceptions. We hope that our volume will be of interest to academics and students of literary theory and linguistics alike, especially those involved in literary semantics, stylistics and poetics. Naturally, the book is also addressed to members and sympathizers of IALS (International Association of Literary Semantics) and the readers of Journal of Literary Semantics, scattered across the world. (shrink)

_Messiahs and Machiavellians_ is an innovative exploration of “modern evil” in works of early- and late-modern theatre, raising issues about ethics, politics, religion, and aesthetics that speak to our present condition. Paul Corey examines how theatre—which expressed a key political dynamic both in the Renaissance and the twentieth century—lays open the impulses that instigated modernity and, ultimately, unparalleled levels of violence and destruction. Starting with Albert Camus’ _Caligula_ and Samuel Beckett’s _Waiting for Godot_, then turning to Machiavelli’s _Mandragola_ and Shakespeare’s (...) _Measure for Measure_, Corey traces the emergence of two dominant, intertwining features of modern evil: an unrestrained pursuit of power and the utopian desire for perfection. Corey’s imaginative and convincing readings of these plays, based on detailed textual analysis, move beyond the accounts usually offered by literary critics. Drawing on political, theological, and philosophical sources—a combination as fertile as it is unusual—Corey’s methodology allows him to make keen and subtle arguments about the eschatological nature of modern politics. “Corey’s lucid, compelling treatise argues for a radical reconsideration of the role of tragedy in dealing with the shifting metaphysical and metatheatrical sands of the contemporary era. While the study begins with an examination of mid-20th Century French existentialism—and the dramatic work of Beckett and Camus in particular—the book soon takes the reader on a fascinating voyage back into the ‘problem’ comedies of the Italian and English Renaissance theatre, and beyond that, into Greek tragedy to understand the evolving concept of ‘evil’ in the Western philosophical, theological, and dramatic tradition. Ending with a reflection on the new ‘theatre’ of terrorism entering the 21st Century, Corey poses the intriguing suggestion, that far from being irrelevant to the post-modern era, a ‘new tragic sensibility’ may become key to our gaining a ‘lucid awareness of our current situation […] the limits of politics, the indelible nature of violence, our inescapable mortality, and a need for prudence’ ” —_Moira Day, University of Saskatchewan_ “A sensitive examination of the problem of evil in Renaissance and 20th century drama. Corey provides fascinating analyses of individual plays, and makes a compelling argument for restoring a tragic vision of good and evil in the face of modern expediency and utopianism.” —_Mary P. Nichols, Baylor University_ _ _ “In _Messiahs and Machiavellians_, Paul Corey delivers insights both numerous and profound. His work is a serious and important contribution to contemporary political science while also offering analyses of interest to scholars in literature, religious studies, theology, and ethics.” —_Barry Cooper, University of Calgary_. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“It’s not true, but I believe it”: Discussions on jettatura in Naples between the End of the Eighteenth and Beginning of the Nineteenth CenturiesFrancesco Paolo de CegliaIntroduction: What is Jettatura?Non èvero...ma ci credo (“It’s not true... but I believe it”) is the title of a comedy by the Italian actor and playwright, Peppino De Filippo, younger brother of the more famous Eduardo, which was staged for the first time (...) in 1942. The narrated events take place in the twentieth century and concern Gervasio Savastano, a Neapolitan businessman who is tormented by the fear of jettatura. The character, victim of grotesque events, first sacks a worker, believing him to be a jettatore, and then hires another, who is a hunchback and so should bring him good luck. In the end, however, it is discovered that the presumed jettatore has never harmed anyone and that the hunchback is not what he seems: he has stuffed his jacket in order to enter into the good graces of the gullible businessman and marry his daughter, with whom he has planned a con trick. The “lucky” events ascribed to his presence can therefore be considered casual. The epilogue? In keeping with the logic of compromise, typical of the brothers De Filippo’s theater, even though the character is rationally convinced of the unfounded nature of his beliefs, he remains adamant: “It’s not true, but I believe it” in other words.1 [End Page 75]“Where I come from, jettatura rules,” wrote the journalist and scriptwriter Giuseppe Marotta in 1947. Indeed, it is still a part of popular Neapolitan culture today.2 Often confused with similar beliefs, such as fascination (fascino) and the evil eye (malocchio), jettatura assumed its present form between the end of the eighteenth and beginning of the nineteenth century, at a time when a polite debate on its nature was taking shape in the city. In this period, the epistemological pluralism animating the discussions was translated into a variety of interpretative hypotheses and literary genres, in which grotesque atmospheres and spirited quips also found room, all perfectly in line with what could be considered the Weltanschauung of Savastano. It is the purpose of this article to examine these discussions, which even spread the term abroad and, with it, the “local color” of the concept.Nineteenth-century European writers on jettatura knew the Neapolitan authors well, and either quoted them explicitly or associated them with characters whose names were a deformation of real people’s: for example, Volitta for Valletta (Stendhal), don Jo (Stendhal) or Ojori (Dumas) for De Jorio. They explained that jettatura corresponded to the more familiar evil eye, but they left the term in Italian, as if to underline the fact that it was untranslatable.Is jettatura a mere anthropological issue, linked to a “primitive” culture, in the face of which official science would remain refractory? A belief that could not be exported or shared by those educated in more “highly developed” contexts? Well, in part, yes. Nevertheless, in the 1840s there was a visitor to Naples who expressed himself in the following terms: “When a foreigner arrives in Naples, at first he laughs at jettatura, then, little by little, he becomes troubled by it, and finally, after a stay of three months, you will see him covered in horns and with his right hand forever clenched [to ward off evil].”3 [End Page 76]So wrote the novelist Alexandre Dumas, père, one of the many travellers who, after having completed the Grand Tour of southern Italy, decided to describe its picturesque scenes and backward customs.4 Creating a veritable topos of travel literature, in the same period the philologist Karl August Mayer commented, “often foreigners let themselves be influenced” by local “superstitions.”5 Indeed many of them were captivated by these Neapolitan beliefs, despite their desire to remain objective and detached; and so they were “converted,” and driven to seek scientific explanations, often after meeting “a Real Jettatore,” whose image had nothing in common with the exotic fantasies of “a French Novelist’s Idea of Jettatore.”6Actually, Dumas and Mayer probably exaggerated somewhat in order to make their descriptions more... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vanities of the Eye: Vision in Early Modern European CultureDallas G. Denery IIStuart Clark. Vanities of the Eye: Vision in Early Modern European Culture. Oxford-New York: Oxford University Press, 2007. Pp. xi + 415. Cloth, $75.00.A popular and pervasive historical narrative links the Renaissance development of linear perspective with Europe’s transition from a pre-modern to an early modern society. Erwin Panofsky gave this narrative its definitive form early (...) in the twentieth century and William Ivins boiled it down to a simple idea that served as the title of his most famous book. According to Ivins, single-point perspective, the artistic technique championed by Alberti and perfected in the paintings of Masaccio and Piero della Francesca, allowed for “the rationalization of sight.” In other words, it provided a mathematically and geometrically grounded method for accurately representing the external world. It is a powerful and seductive claim, one that has shaped generations of scholarly work. It is also, Stuart Clark contends in this important new book, patently wrong. Far from exhibiting a renewed or reinvigorated confidence in the accuracy and reliability of vision, sixteenth- and seventeenth-century philosophers, artists, theologians, and doctors worried that sight was susceptible, perhaps permanently so, to all sorts of debilitating derangements, displacements, and delusions.Rather than relate a history of progress, Clark offers a history of exhaustion, failure, and, ultimately, of rejection. Early modern intellectuals inherited a comprehensive theory of vision and cognition from their medieval predecessors known as perspectivist optics. This theory sought to secure the accuracy of human sense perception through regularized causal processes that linked things in the world with our various cognitive faculties. While some fourteenth-century intellectuals, most notably Nicolas of Autrecourt and Nicole Oresme, recognized structural deficiencies in this theory, their critiques were mostly ignored or treated as anomalies. Over the course of the next two and a half centuries, Clark argues, the challenges to this theory multiplied until it collapsed under their weight (20).Clark’s argument is straightforward and, as his evidence mounts, thoroughly convincing. Throughout each of the eight engrossing chapters that form the core of the book, Clark outlines a different threat, a different set of challenges that pointed out problems with the assumption that vision is trustworthy. The range and depth of those challenges are truly amazing. Doctors worried that imbalances in our humoral system, and especially in the black bile that causes melancholy, could render our visual perceptions dubious at best (ch. 2). Theologians, wary of the dangers of witchcraft and eager to prosecute its practitioners, obsessed over the cognitive threats that devils and demons posed to good Christians (ch. 4), while Protestant reformers relegated the entire tradition of Catholic miracles to the counterfeit illusions of the antichrist (ch. 5). For their part, artists believed that perspective undermined vision, depending as it does on the assumption that what we see is always relative, dependent upon our point of view (ch. 3).Clark structures much of his argument around George Hakewill’s 1608 book, The vanitie of the eye, an exposition on the natural, artificial, and demonic sources that forever render visual knowledge suspect. He could just as well have organized it around the opening pages of Descartes’s Meditations, and in many ways Clark’s book serves as a superb rumination on the sources of Descartes’s skeptical arguments. Unlike Etienne Gilson and, more recently, Richard Popkin, both of whom have done so much to open up the scholastic and early modern sources of Descartes’s skeptical thought experiments, Clark does not limit himself to philosophical lineages. Rather, he considers sources of visual skepticism that developed across an entire culture—in natural philosophy, medicine, art, religion, and literature (especially in Shakespeare’s Macbeth). Not only does the sheer volume and variety of such [End Page 103] sources help to explain Descartes’s urgent desire to overturn everything he had learned and begin again from the foundations, but it also contextualizes the specific arguments he employs. None of Descartes’s skeptical arguments were new and most were well known in the Middle Ages. What had changed over the intervening centuries, Clark contends, was how these arguments drew from... (shrink)

The Russo Williamson thesis (RWT) states that a causal claim can be established only if it can be established that there is a difference-making relationship between the cause and the effect, and that there is a mechanism linking the cause and the effect that is responsible for such a difference-making relationship (Russo & Williamson, 2007). The applicability of Russo and Williamson’s idea was hugely debated in relation to biomedical research, and recently it has been applied to the social sciences (Shan (...) & Williamson, 2021). While many philosophers and social scientists have advocated the use of different kinds of evidence for causal discoveries, others have criticised this approach. With this paper, I aim to defend RWT from criticisms and to show its importance in the social sciences. The paper is structured as follows. After a brief introduction, in Sect. 2, I will summarise RWT, and in Sect. 3 I will describe how this approach can be applied to the social sciences. In Sect. 4, I will reconstruct two main criticisms of this thesis proposed in the philosophy of the social sciences literature: namely (i) RWT is not used in the social sciences, (ii) RWT does not work. For each criticism I will provide a defence of RWT. My defence will be based on two general considerations: (i) RWT appears perfectly in line with the research methods used in the social sciences and (ii) RWT can be applied successfully to establish causal claims. In Sect. 5, moreover, I will examine the causal accounts that have motivated such criticisms and I will argue that they should be rejected to endorse RWT and a causal account able to accommodate the current use of mechanistic and difference-making evidence in the social sciences. Section 6 will conclude with a note on the relevance of RWT in both its descriptive and normative form. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 585-587 [Access article in PDF] Chumaru Koyama, editor. Nature in Medieval Thought: Some Approaches East & West. Studien und Texte zur Geistesgeschichte des Mittelalters. Leiden: Brill, 2000. Pp. xiv + 183. Cloth, $65.00. The subtitle of this volume is misleading. The Japanese scholars represented (Koyama, Y. Iwata, and B. R. Inagaki) were all trained in Western medieval philosophy and are highly (...) respected medievalists. None of the Western contributors is an expert on Eastern philosophy. Even readers familiar with Japan will be hard pressed to find anything characteristically Eastern in any of the contributions.In the forward provided by the editor and in a preface written by W. Kluxen, we are informed that the volume was the product of two international conferences. Western [End Page 585] and Eastern experts on medieval philosophy were assembled to discuss the problem of "how each human being and humanity as a whole will handle nature in the future" (viii). Both Koyama and Kluxen assume that medieval Europeans conceived essential features of the understanding of "nature" now common to the whole world.Judging from the essays in the book, we conclude that the volume represents a beginning. There are connections between some of the essays, but the question remains: can the medieval view of nature offer us guidance on how to deal with our environmental crises? In general, one might expect a congenial relationship between ancient Western organic views and Japanese intuitions about nature. Nevertheless, compromise characterizes technological decision-making in both cultures. The challenge posed by radical environmentalists is the adequacy altogether of anthropocentric environmental ethics to save the planet.The essay by Iwata offers an interpretation of natural teleology that is compatible with mechanism and hypothetical necessity. Iwata suggests that art that pursues its own ends and not as an imitation of nature can be the source of environmental crises. Two papers by Kluxen on ethics, nature, and natural law acknowledge major transformations in the Middle Ages, and the challenge he poses is how to reintegrate reason and nature. K. Riesenhuber challenges recent accounts that claim to find in some twelfth-century authors an autonomous interest in nature. While nature as a discipline did not achieve autonomy in the twelfth century, Riesenhuber detects the stirrings of independence, but knowledge of nature remained subordinate to knowledge of God. L. Honnefelder suggests that guidance for our treatment of nature may lie in developing new models for the combination of the Platonic technomorphic with the Aristotelian biomorphic paradigm. Inagaki's paper on original sin and human nature adopts a stance that conforms to the Judeo-Christian tradition of the human break with nature. Whatever the source of that disintegration, the problem described in this way requires first a healing of human nature. The paper by M. M. Adams considers John Duns Scotus's revision of final causality. Scotus distinguished between the perfection of the being that a thing constitutes and the explanatory function of that achievement. On this account, Scotus revised the analysis to secure one sense in which Goodness explains being. The paper provides an example of the sorts of transformations in the medieval view suggested by several of the other contributors.C. Steel's paper questions the assumptions about the connection between medieval and modern conceptions of nature. Steel adopts a more comprehensive historical perspective. Flawed by its selective reliance on secondary literature, the paper nonetheless represents an important effort to understand our current dilemma from a historical perspective. Steel challenges L. White, Jr.'s now famous claim about the Christian roots of our ecological crisis. Steel overlooks White's appeals to Christian traditions at variance with Christian dualism and to the use of the Bible in the seventeenth century to sanction the study of science as a means to master nature. Steel takes up the vexed question of continuity or discontinuity between medieval philosophy of nature and seventeenth-century science. In the end Steel falls on the side of continuity, yet in a way that can be expressed only dialectically! That is to say, medieval commentaries on... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

The myth of Sisyphus symbolizes the archetypal process of becoming without the consolation of absolute achievement. It is a poignant reflection of idealized aspirations and actual limitations of the human condition. It is also a prominent framing text for the interpretation of classical and patristic literature, medieval allegorical and alchemical interpretations of mythology, and humanist philosophical, educational, and utopian ideologies, and erotic and heroic theories of human perfectibility. Sisyphus defines the modalities of human transcendence in classical and Christian terms; (...) he is the personification of the unrequited lover; and he is the embodiment of the aspirant renaissance hero. (shrink)

Neither the apparently cold-blooded murder of a complete stranger, the central event in The Stranger, nor Hugo's murder of Hoederer in Dirty Hands—a political assassination or crime of passion, depending on how one views it—can be considered unusual acts, in literature or in life. The topic of murder has itself created an extremely popular genre: the detective novel or "whodunit," which has become a huge industry and has aficionados everywhere, Sartre being one. In French theater, the topic of political (...) assassination has resulted in such famous plays as de Musset's Lorenzaccio (1834), which ostensibly deals with Florence in the sixteenth century and the tyrannical Alexandre de Médicis, who is assassinated by his young cousin, but is in fact "a limpid transposition of the failed revolution of July 1830." It is well known that Sartre was an admirer of Musset and Romantic theater. In 1946, Jean Cocteau, who helped with the staging of Les Mains sales (Dirty Hands), wrote L'Aigle ` deux têtes (The Two-Headed Eagle), which was inspired "by the sad life of Empress Elisabeth of Austria and her tragic death by the hand of the Franco-Italian assassin, Luigi Lucheni." Sartre himself, in Nausea, has Anny use the engraving in Michelet's Histoire de France depicting the assassination of the Duke de Guise as a perfect illustration of "privileged situations.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Vanities of the Eye: Vision in Early Modern European CultureDallas G. Denery IIStuart Clark. Vanities of the Eye: Vision in Early Modern European Culture. Oxford-New York: Oxford University Press, 2007. Pp. xi + 415. Cloth, $75.00.A popular and pervasive historical narrative links the Renaissance development of linear perspective with Europe’s transition from a pre-modern to an early modern society. Erwin Panofsky gave this narrative its definitive form early (...) in the twentieth century and William Ivins boiled it down to a simple idea that served as the title of his most famous book. According to Ivins, single-point perspective, the artistic technique championed by Alberti and perfected in the paintings of Masaccio and Piero della Francesca, allowed for “the rationalization of sight.” In other words, it provided a mathematically and geometrically grounded method for accurately representing the external world. It is a powerful and seductive claim, one that has shaped generations of scholarly work. It is also, Stuart Clark contends in this important new book, patently wrong. Far from exhibiting a renewed or reinvigorated confidence in the accuracy and reliability of vision, sixteenth- and seventeenth-century philosophers, artists, theologians, and doctors worried that sight was susceptible, perhaps permanently so, to all sorts of debilitating derangements, displacements, and delusions.Rather than relate a history of progress, Clark offers a history of exhaustion, failure, and, ultimately, of rejection. Early modern intellectuals inherited a comprehensive theory of vision and cognition from their medieval predecessors known as perspectivist optics. This theory sought to secure the accuracy of human sense perception through regularized causal processes that linked things in the world with our various cognitive faculties. While some fourteenth-century intellectuals, most notably Nicolas of Autrecourt and Nicole Oresme, recognized structural deficiencies in this theory, their critiques were mostly ignored or treated as anomalies. Over the course of the next two and a half centuries, Clark argues, the challenges to this theory multiplied until it collapsed under their weight (20).Clark’s argument is straightforward and, as his evidence mounts, thoroughly convincing. Throughout each of the eight engrossing chapters that form the core of the book, Clark outlines a different threat, a different set of challenges that pointed out problems with the assumption that vision is trustworthy. The range and depth of those challenges are truly amazing. Doctors worried that imbalances in our humoral system, and especially in the black bile that causes melancholy, could render our visual perceptions dubious at best (ch. 2). Theologians, wary of the dangers of witchcraft and eager to prosecute its practitioners, obsessed over the cognitive threats that devils and demons posed to good Christians (ch. 4), while Protestant reformers relegated the entire tradition of Catholic miracles to the counterfeit illusions of the antichrist (ch. 5). For their part, artists believed that perspective undermined vision, depending as it does on the assumption that what we see is always relative, dependent upon our point of view (ch. 3).Clark structures much of his argument around George Hakewill’s 1608 book, The vanitie of the eye, an exposition on the natural, artificial, and demonic sources that forever render visual knowledge suspect. He could just as well have organized it around the opening pages of Descartes’s Meditations, and in many ways Clark’s book serves as a superb rumination on the sources of Descartes’s skeptical arguments. Unlike Etienne Gilson and, more recently, Richard Popkin, both of whom have done so much to open up the scholastic and early modern sources of Descartes’s skeptical thought experiments, Clark does not limit himself to philosophical lineages. Rather, he considers sources of visual skepticism that developed across an entire culture—in natural philosophy, medicine, art, religion, and literature (especially in Shakespeare’s Macbeth). Not only does the sheer volume and variety of such [End Page 103] sources help to explain Descartes’s urgent desire to overturn everything he had learned and begin again from the foundations, but it also contextualizes the specific arguments he employs. None of Descartes’s skeptical arguments were new and most were well known in the Middle Ages. What had changed over the intervening centuries, Clark contends, was how these arguments drew from... (shrink)

When you don’t know what to do, you’d better find out. Sometimes the best way to find out is to ask for advice. And when you don’t know what the right thing to do is, it’s sometimes good to rely on moral advice. This straightforward thought spells serious trouble for a popular and widespread approach to moral worth: on this approach, agents deserve moral praise for a right action only if they are acting on right-making reasons. The first part of (...) this paper argues that cases of moral advice present right-making reasons accounts with a dilemma: depending on how we make the right-making relation precise, we either have to deny that agents who seek out and follow moral advice are morally praiseworthy or we have to credit morally wrong actions by unsavory characters with moral worth. This casts doubt on the claim that acting on right-making reasons can be both necessary or sufficient for moral worth. The second half of the paper explores an alternative proposal: what’s required for moral worth is moral knowledge. This idea has been unpopular in recent literature. My aim is to show that it deserves serious consideration. (shrink)