Antisthenes was famous in antiquity for his studies of Homer's poems, his affiliation with Gorgias and the sophistic movement, his pure Attic writing style, and his inspiration of Diogenes of Sinope, who founded the Cynic philosophical movement. Antisthenes stands at two of the greatest turning points in ancient intellectual history: from pre-Socraticism to Socraticism, and from classical Athens to the Hellenistic period. Antisthenes' works form the path to a better understanding of the intellectual culture of Athens that shaped Plato and (...) laid the foundations for Hellenistic philosophy and literature. Antisthenes of Athens keeps in mind the goals and polemics framing each philosophical and textual discussion. The volume considers the ancient traditions about Antisthenes' rejection of Plato's “Theory of Forms,” his assertion of the paradox, “It is impossible to gainsay,” and his denial that definition of essence is possible, as well as the plausible intentions of Antisthenes. In cases where these questions are not easily settled, and where modern interpretation has varied, Susan H. Prince identifies the roots of the disagreements. The goal and meaning of Antisthenes' other famous ancient paradox, “I would rather go mad than have pleasure,” is illuminated by comparison with other evidence showing that pleasure does have a place in his ideology. Evidence for his relationship to Diogenes of Sinope, and for his receptions by the Cynics, Stoics, Skeptics, Christians, and Neo-Pagans is examined for both its historical value and its distorting tendencies. (shrink)

Many languages have past-and-counterfactuality markers such as English simple past. There have been various attempts to find a common definition for both uses, but I will argue in this paper that they all have problems with ruling out unacceptable interpretations, or accounting for the contrary-to-fact implicature of counterfactual conditionals, or predicting the observed cross-linguistic variation, or a combination thereof. By combining insights from two basic lines of reasoning, I will propose a simple and transparent approach that solves all the observed (...) problems and offers a new understanding of the concept of counterfactuality. (shrink)

In her chapter “Duress and Moral Progress”, Seana Shiffrin offers a novel perspective on coerced promises. According to the dominant view, these promises confer no right to performance on the coercer and do not create new reasons for the victim. Shiffrin accepts that these promises fail to confer rights, but disagrees that they never alter the victim’s moral profile. She argues that they do at least where promises are ‘initiated’ by the victim, rather than ‘dictated’ by the coercer. The initiation (...) of a promise, albeit in far from ideal circumstances, opens the door, Shiffrin claims, to valuable opportunities for moral progress. In this response, I argue that Shiffrin makes a misstep by not rejecting the dominant view altogether. I suggest that the older Hobbesian picture, according to which coerced promises do confer rights, is supported by our moral and legal practices. Furthermore, it makes moral progress more likely. (shrink)

This book offers the first full-length study of philosophical dialogue during the English Enlightenment. It explains why important philosophers - Shaftesbury, Mandeville, Berkeley and Hume - and innumerable minor translators, imitators and critics wrote in and about dialogue during the eighteenth century; and why, after Hume, philosophical dialogue either falls out of use or undergoes radical transformation. Philosophical Dialogue in the British Enlightenment describes the extended, heavily coded, and often belligerent debate about the nature and proper management of dialogue; and (...) it shows how the writing of philosophical fictions relates to the rise of the novel and the emergence of philosophical aesthetics. Novelists such as Fielding, Sterne, Johnson and Austen are placed in a philosophical context, and philosophers of the empiricist tradition in the context of English literary history. (shrink)

There is a prevailing notion amongst preachers of the gospel, especially those in the Pentecostal circle, that adultery is a demonic problem. Their understanding of Jesus' statement in Matthew 5:27-30 about adultery in the heart is that for adultery to happen in an invisible entity such as the heart, some invisible forces (demons) are responsible. This research is an exegetical study of Matthew 5:27-30, employing historical criticism as methodology, to ascertain the correctness of this understanding. The conclusion of this study (...) is that adultery as described and understood in Matthew 5:27-30 is a sexual disorder and not a demonic problem. CONTRIBUTION: This contribution argues that adultery mentioned in Matthew 5:27-30, contrary to its understanding in Pentecostal circles, is a sexual disorder and not the result of demonic spirits that feed the mind with sexual thoughts. (shrink)

L’exercice artistique suppose un rapport au temps spécifique : l’homme s’exerçant à son art répète, reprend, corrige ses gestes. Mais en va-t-il de même concernant la réception des œuvres : la perception du spectateur s’exerce-t-elle par répétition et variation des expériences esthétiques? L’objet de cet article est de montrer qu’il existe un type d’exercice dont le mécanisme repose plutôt sur la déstabilisation des habitudes de perception. À partir des réflexions valéryennes sur l’informe dans l’Introduction à la méthode de Léonard de (...) Vinci et Degas, Danse, Dessin, nous proposons de penser un exercice de la perception qui passe par la décomposition de ses mécanismes. Cette idée trouve sa réalisation dans des dispositifs artistiques labyrinthiques tels que l’exposition Contact d’Olafur Eliasson (Fondation Louis Vuitton, 2014-2015) qui, en perturbant les échelles d’espace et de temps, oblige le récepteur à produire consciemment le travail de cohérence de la synthèse perceptive. (shrink)

MARXISM AND THE PHILOSOPHY, OF LANGUAGE By V.N. Volo?inov translated by Ladislav Matejka & I.R. Titunik Cambridge, Mass.: Harvard University Press, 1986. 205 pp., $9.95 The contributions of Volo?inov's theories of language are assessed and are contrasted to traditional Marxist philosophy, Saussurean linguistics and more recent developments in transformational grammar and sociolinguistics. Studying connections between language and politics in the 1920s, Volosinov explored the ways social reality enters verbal signs and their usage, anticipating many of the debates within modem linguistics.

Steven Schneider The Means and Ends of Screen Violence _Film-Philosophy_, vol. 3 no. 18, April 1999.

Near the end of his speech, Timaeus outlines a theory of bodily health and disease which has seemed to many commentators loosely unified or even inconsistent . But this section is better unified than it has appeared, and gives us at least one important insight into the workings of physical causality in the Timaeus. I argue first that the apparent disorder in Timaeus’s theory of disease is likely a deliberate effect planned by the author. Second, the taxonomy of disease in (...) the passage consists of one genus subsuming two species. Third, in Timaeus’s theory, health lies between perfect stability and a chaos of all possible motions; this indicates a conception of health as the activation of the body's powers in the right way. A power is a property directed towards bringing about some change. Fourth, the activation of these powers can change depending on the location of their possessors. This last point shows that causation among the physical items in the Timaeus involves structures as well as pushes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gerald Prince WORLDS WITH STYLE Whether it is taken to be a laudable characteristic of verbal artifacts (as in, "This essay is really well written"), a distinctive feature of an individual manner of speaking or writing (as in, "Jane definitely has a style of her own"), an ornamental supplement to that which is expressed (style as elocutio), or an appropriate way of using language in different contexts (there is (...) — or was — a style for tragedy, another one for comedy, and still another one for pastoral; there is a style for speaking at business meetings and other styles better suited to everyday conversations, political rallies, or Ph.D. exams), whether it is taken to be any of these four things (or many other things as well), the style of an utterance is traditionally viewed as a secondary phenomenon different from and added to some primary base. It is the mode of expressing a given matter, the way of "saying" some thing, the how of a what. The same is true when the notion style is used in connection with nonverbal artifacts — we talk about musical styles and about pictorial ones — but also in connection with any number of activities or states of affairs: walking down the street, dancing the tango, being pleasant, or playing ping-pong. Ping-pong players use rackets, a net, and a ball, in accordance with certain rules, when they engage in a casual game; but they are thought to be doing somediing more than merely playing: they are performing an activity (the what) in a particular way. They do it stylishly, idiosyncratically, with a lot of showboating, or in a manner appropriate to the informal context.1 It is somewhat surprising, therefore, that, when it comes to verbal (and nonverbal) representations, style is often thought to be irrelevant to the signified (what is represented) as opposed to the signifier (what represents). Graham Hough writes, for example: "In discussing whatever it is we mean by style we assume mat the primary choice, the choice of subject-matter in the large sense, has already been made.... We can talk about the secondary choice, the stylistic one, in various ways.... But whatever point of view we adopt, it will be the verbal ordonnance that we discuss, not the oudines of die mym, the facts of the case, the ideological or biographical substructure."2 Yet, as I have more than suggested, any what has (or can have) a corresponding how. Besides, both 59 60Philosophy and Literature in formal criticism and informal exchanges, we frequently seem to refer to the how of a signified. When we say, for instance, that a given short story is Kafkaesque, we do not, I think, have its verbal style in mind; and when we claim that a novelistic episode or character comes right out of Alice in Wonderland, we are not talking about linguistic matters. Of course, the fact mat we seem to refer to the how of signifieds (or that we do refer to the how of signifiers) does not necessarily mean mat mere are such things (or that we can describe them). But I suspect that there are (and that we can). I would like to discuss in what follows some of the ways in which we might be able to talk of the style of represented "worlds" more or less meaningfully and systematically and some of the problems attending such talk. For the sake of convenience and because of personal affinities, I will restrict myself to verbal narratives. I will not make a distinction between literary and non-literary ones, since such a distinction is formally and even pragmatically quite problematic. IfI concentrate on fictional narratives, it is, again, because of personal affinities and not because I mink that, when it comes to style, (ontological or other) differences between fiction and nonfiction make very much of a difference. As I will argue, style is in the eye ofthe beholder and, from that point of view, whether or not something is compossible with one's knowledge of the "real world" does not necessarily make it function as fictional or nonfictional; indeed, I am constandy surprised by the real world and I could easily recount... (shrink)

Didache 1:4b – ἐὰν λάβῃ τίς ἀπὸ σοῦ τὸ σόν, μὴ ἀπαἱτει, οὐδὲ γὰρ δύνασαι [if anyone takes something from you that is yours, do not ask it back, because you should not or would not be able to] – is discussed in this article as problematic to the present mindset of the Nigerian church, especially as frontal attacks and premeditated persecutions from rival religions daily threaten to exterminate the Christian faith in Nigeria. This article argues that the Christians in (...) Nigeria unwittingly interpreted this first-century document and wrongly so because this interpretation has metamorphosed into an ideology. The article suggests a sharp measure against this ideology. Contribution: The church in Nigeria is controlled in their attitude towards self-defense by the text of Didache 1:4b. This article’s contribution is a reexamination of the text in comparison to its parallel in the synoptic texts to assert that the synoptic texts, instead of Didache 1:4b, suggests non-violent self-defense. (shrink)

English Communication Skills have proved to be an integral skill in employment skills. Students graduating in a wide range of disciplines face a number of difficulties in learning the English language especially when they focus on their areas of specializations. It has become a major issue. With reference to the page no 29 of India Skills Report 2023, the employment ratio of Bachelor of Engineering/Bachelor of Technology and Master of Business Administration was 57.44% and 60.1% respectively and the same was (...) 55.15% and 55.09% in the respective fields in 2022 when Communication Skills were kept at the top (page no 9, India Skills Report 2022) in the list of key skills of Digital Age. English proved to be a game changer in terms of enhancing employability scope (Page 20, 21, 45, 47, 53, 54, 55; India Skills Report 2022) and a number of cities and states performed better with more focus on developing English Communication skills of university students. This study is primarily based on looking into social and affective factors affecting English language acquisition skills. It is absolutely relevant to the course developer, policy makers as well as academicians to understand what factors affect the language acquisition capacities of learners and necessary modifications can be initiated accordingly. This is an analytical study and it ascertains the significance of language affective factors from a rapid evidence assessment report submitted by EEF at University of oxford, Department of Education in July 2020 and a similar research project was conducted by Takayo Nitta at the University of Western Cape in South Africa on non-natives learning English and facing similar challenges in social, affective and cognitive areas. This is a qualitative study and secondary data is collected from the research project conducted at the University of Western Cape since learners were from a non-native country only where existing language learning culture is found to be utmost similar and problems are also identical. (shrink)

Ethical debates around genetic enhancement tend to include an argument that the technology will eventually be fairly accessible once available. That we can fairly distribute genetic enhancement has become a moral defence of genetic enhancement. Two distribution solutions are argued for, the first being equal distribution. Equality of access is generally believed to be the fairest and most just method of distribution. Second, equitable distribution: providing genetic enhancements to reduce social inequalities. In this paper, I make two claims. I first (...) argue that the very assumption that genetic enhancements can be distributed fairly is problematic when considering our understanding of gene–environment interactions, for example, epigenetics. I then argue that arguments that genetic enhancements are permissible because the intended benefits can be distributed fairly as intended are misinformed. My first claim rests on the assertion that genetic enhancements do not enhance traits in a vacuum; genes are dependent on conducive environments for expression. If society cannot guarantee fair environments, then any benefit conferred from being genetically enhanced will be undermined. Thus, any argument that the distribution of genetic enhancements will be fair and that the technology is therefore morally permissible, is mistaken. (shrink)

L’exercice artistique suppose un rapport au temps spécifique : l’homme s’exerçant à son art répète, reprend, corrige ses gestes. Mais en va-t-il de même concernant la réception des œuvres : la perception du spectateur s’exerce-t-elle par répétition et variation des expériences esthétiques? L’objet de cet article est de montrer qu’il existe un type d’exercice dont le mécanisme repose plutôt sur la déstabilisation des habitudes de perception. À partir des réflexions valéryennes sur l’informe dans l’_Introduction à la méthode de Léonard de (...) Vinci_ et _Degas, Danse, Dessin_, nous proposons de penser un exercice de la perception qui passe par la décomposition de ses mécanismes. Cette idée trouve sa réalisation dans des dispositifs artistiques labyrinthiques tels que l’exposition _Contact_ d’Olafur Eliasson qui, en perturbant les échelles d’espace et de temps, oblige le récepteur à produire consciemment le travail de cohérence de la synthèse perceptive. (shrink)