Social organization in microcosm : anomalies and ritual concentrate conflict -- Comparing on a grand scale : elementary forms do the organizing -- Building fundamental explanations : rituals do the institutionalizing, and institutions make change -- Analytic method is also ritual peacemaking : thinking in circles helps to defuse conflict -- Douglas's contribution to understanding human thought and conflict.

This chapter develops a semantics for 'reifying terms' of the sort 'the proposition that S', 'the fact that S', 'the property of being P', 'the number eight', 'the concept horse', 'the truth value true', 'the kind humane being'. This semantics is developed within the broader perspective of the ontology of natural language involving abstract objects only at its periphery, not its core.

In this essay Gillman Payette and Peter Schotch present an account of the key notions of level and forcing in much greater generality than has been managed in any of the early publications. In terms of this level of generality the hoary notion that correct inference is truth-preserving is carefully examined and found wanting. The authors suggest that consistency preservation is a far more natural approach, and one that can, furthermore, characterize an inference relation. But an examination of the usual (...) account of consistency reveals problems that, in general, can be corrected by means of an auxiliary notion of inference (forcing) which relies upon a kind of generalization of consistency, called level. Preservation of the latter is shown to be another of the properties which characterize a logic and forcing is shown to preserve it. The essay ends with a sketch of a result which locates forcing among all possible level-preserving inference relations. (shrink)

Frontmatter -- Also sprach Zarathustra. Erster Theil -- Also sprach Zarathustra. Zweiter Theil -- Also sprach Zarathustra. Dritter Theil -- Also sprach Zarathustra. Vierter und letzter Theil.

Name der Zeitschrift: Nietzsche-Studien Jahrgang: 44 Heft: 1 Seiten: 67-77.

At that moment, when I had the TV sound off, I was in a 382 mood; I had just dialed it. So although I heard the emptiness intellectually, I didn’t feel it. My first reaction consisted of being grat...

A striking difference between those fields we classify as humanities and those we regard as sciences is the attitude within each field toward its history. Learning about literature, music, or the visual arts requires becoming knowledgeable about a significant amount of the history of those areas. And education in these fields, at whatever level, invariably involves some study of great accomplishments in the past. By contrast, scientific work and standard scientific textbooks make little reference to the history of the science (...) in question, and such reference is typically relegated to the appreciative mention in passing of important empirical discoveries or theoretical innovations. And professional training in the sciences, both graduate and undergraduate, involves no serious examination of the achievements or methodology of past scientific work, no matter how impressive and influential those achievements may have been. Progress dominates thinking in the sciences, and that emphasis may seem to explain such casual and occasionally condescending reference to the history of the sciences. But progress occurs in the humanities as well; even if some of the greatest artistic accomplishments are well in the past, there is remarkable innovation in style, technique, and methodology in the various arts. Some of the most monumental accomplishments in the sciences, moreover, are historical; nobody is likely to surpass the quality and importance of Newton's achievements, and few will ever equal those of Einstein. So it is unlikely that attitudes towards progress or past accomplishments can explain the divergent attitudes that fields in the sciences and humanities exhibit towards their own history. We can better understand this contrast by appeal to a characteristic feature of the arts. Nobody today writes in the manner of Milton, Racine, or Shakespeare, or composes in the manner of Bach or Beethoven, or paints in the style of Vermeer, Renoir, or Da Vinci. Even Picasso's early, somewhat ostentatious paintings in the styles of various past masters were more to show his prodigious abilities than they were original artistic endeavors.. (shrink)

El comentario de texto es una práctica habitual en la enseñanza de la filosofía y de otras disciplinas. En general, los modelos existentes se centran en la comprensión del texto y del contexto del autor y la época, pero menos en la apropiación dialogada por parte del lector de los problemas a los que el texto hace frente. Basados en las aportaciones de algunas de las corrientes hermenéuticas más significativas del siglo XX, los autores fundamentan y exponen un modelo de (...) comentario de texto centrado en el diálogo establecido entre el lector y el texto. (shrink)