Dan Marshall and Josh Parsons note, correctly. that the property of being either a cube or accompanied by a cube is incorrectly classified as intrinsic under the definition we have given unless it turns out to be disjunctive. Whether it is disjunctive, under the definition we gave, turns on certain judgements of the relative naturalness of properties. They doubt the judgements of relative naturalness that would classify their property as disjunctive. We disagree. They also suggest that the whole idea (...) of judging relative naturalness is a dubious business. We reply that, like them or not, such judgements cannot easily be avoided. (shrink)

I want to join Dummett in saying that the reality of the past (and, by analogy, the reality of the future) is an issue of realism versus anti-realism: (Dummett 1969) If you affirm the reality of the past, you are a realist about the past. If you deny the reality of the past, you are an anti-realist about the past. (And likewise, in each case, for the future). It makes sense to think of these issues by analogy with realism about (...) the external world, unobservable objects, mathematical objects, universals, and so on. These are all properly described as ontological issues. (shrink)

This book brings together, in systematic and generalized form, the main outlines of a conceptual scheme for the analysis of the structure and processes of social systems. It carries out Pareto's intention by using the "structural-functional" level of analysis.

In this paper some of the history of the development of arithmetic in set theory is traced, particularly with reference to the problem of avoiding the assumption of an infinite set. Although the standard method of singling out a sequence of sets to be the natural numbers goes back to Zermelo, its development was more tortuous than is generally believed. We consider the development in the light of three desiderata for a solution and argue that they can probably not all (...) be satisfied simultaneously. (shrink)

Charles Parsons examines the notion of object, with the aim to navigate between nominalism, denying that distinctively mathematical objects exist, and forms of Platonism that postulate a transcendent realm of such objects. He introduces the central mathematical notion of structure and defends a version of the structuralist view of mathematical objects, according to which their existence is relative to a structure and they have no more of a 'nature' than that confers on them. Parsons also analyzes the concept (...) of intuition and presents a conception of it distantly inspired by that of Kant, which describes a basic kind of access to abstract objects and an element of a first conception of the infinite. (shrink)

Although recent work in philosophical aesthetics has brought welcome attention to the beauty of nature, the aesthetic appreciation of animals remains rarely discussed. The existence of this gap in aesthetic theory can be traced to certain ethical difficulties with aesthetically appreciating animals. These difficulties can be avoided by focusing on the aesthetic quality of “looking fit for function.” This approach to animal beauty can be defended against the view that “looking fit” is a non-aesthetic quality and against Edmund Burke’s famous (...) critique of the connection between fitness and the beauty of animals. (shrink)

In this book Terence Parsons revives the older tradition of taking such objects at face value. Using various modern techniques from logic and the philosophy of language, he formulates a metaphysical theory of nonexistent objects. The theory is given a formalization in symbolism rich enough to contain definite descriptions, modal operators, and epistemic contexts, and the book includes a discussion which relates the formalized theory explicitly to English.

This extended investigation of the semantics of event (and state) sentences in their various forms is a major contribution to the semantics of natural language, simultaneously encompassing important issues in linguistics, philosophy, and logic. It develops the view that the logical forms of simple English sentences typically contain quantification over events or states and shows how this view can account for a wide variety of semantic phenomena. Focusing on the structure of meaning in English sentences at a &"subatomic&" level&-that is, (...) a level below the one most theories accept as basic or &"atomic&"&-Parsons asserts that the semantics of simple English sentences require logical forms somewhat more complex than is normally assumed in natural language semantics. His articulation of underlying event theory explains a wide variety of apparently diverse semantic characteristics of natural language, and his development of the theory shows the importance of seeing the distinction between events and states. Parsons demonstrates that verbs, also, indicate kinds of actions rather than specific, individual actions. Verb phrases, too, he argues, depend on modifiers to make their function and meaning in a sentence specific. An appendix gives many of the details needed to formalize the theory discussed in the body of the text and provides a series of templates that permit the generation of atomic formulas of English. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.3 (2004) 19-35 [Access article in PDF] Moderate Formalism As a Theory of the Aesthetic Glenn Parsons Art history and art criticism explore, classify, and critique artworks from a number of perspectives. Their cultural, political, and moral significance are all of interest in this regard. This variety of perspectives notwithstanding, one way of considering artworks retains a central position for these disciplines. Despite (...) perennial shifting in conceptions of the purpose and nature of art, the aesthetic appreciation of art remains at the center of our practices for classifying and evaluating it. Without claiming that the aesthetic dimension of art is the only proper focus of its appreciation or that the aesthetic is a very clearly understood notion, we may say that some degree of contact with the aesthetic is what makes our consideration of an artwork an appreciation of it as art, rather than as historical artifact, manifestation of cultural ideology, and so on.In light of the central position of aesthetic appreciation in art history and criticism, an important concern regarding aesthetic education is what sort of knowledge, if any, is required for appropriate aesthetic appreciation of an artwork. Is knowledge of the historical context of an artwork required for appropriate aesthetic appreciation of it, or is its historical dimension a separate matter, perhaps worthy of appreciation in its own right but not relevant to the appreciation of the artistic achievement of the work? Virtually all modern theories of the aesthetic agree that in order to appreciate an artwork aesthetically, we need to perceive attentively certain of its perceptual properties, such as its shape and color. They differ, however, on whether such attentive perception is sufficient for appropriate aesthetic appreciation. On the one hand we have cognitivist views, which assert that, in addition to this sort of attentive perception, certain kinds of knowledge about the object of appreciation are required for appropriate aesthetic appreciation. On the other hand we have non-cognitivist views, which deny that such knowledge is necessary for appropriate aesthetic appreciation. According to the latter, the aesthetic qualities of an artwork, such as its gracefulness, [End Page 19] are formal in the sense that they depend only upon those perceptual properties, such as color, shape, and size, that constitute the "sensory surface" of the work.1 These properties, apparent to the attentive observer, are the only properties of the object to which one need attend in order to appreciate its gracefulness. Other properties of the painting, such as its depicting German peasants or having been rendered by a communist, are irrelevant to its aesthetic qualities, and knowledge about them is not required for its appropriate aesthetic appreciation. Today this non-cognitivist position is generally called formalism.2In the twentieth century, philosophical aesthetics largely rejected such views in favor of models of aesthetic appreciation with a richer cognitive element. This movement away from formalism has a number of dimensions, including the efforts of feminists to establish the aesthetic value of activist art, the desire to make sense of well-established practices of art appreciation, a growing awareness of the role that beliefs play in our aesthetic responses, the effort to do justice to the aesthetic character of the natural environment, and conceptual difficulties internal to formalism itself.3 Recently, however, some philosophers have revived the spirit, if not the letter, of formalism. Acknowledging widespread criticism of early formalists, such as Clive Bell, they concede that these theorists overstated the case when they claimed that all aesthetic qualities depend on nothing beyond the sensory surface of the object.4 The new formalists, in contrast, claim only that some aesthetic qualities are of this character. They call this doctrine moderate formalism, in contrast to the extreme formalism defended by earlier formalists.5By adopting this more modest position, moderate formalists can accommodate many of the criticisms that led to the decline of extreme formalism. However, if it turns out that only a handful of relatively unimportant aesthetic qualities are formal in nature, then moderate formalism would hardly make an impressively "formalist" theory of the... (shrink)

This study examines the history of the psychoanalytic theory of mysticism, starting with the seminal correspondence between Freud and Romain Rolland concerning the concept of "oceanic feeling." Providing a corrective to current views which frame psychoanalysis as pathologizing mysticism, Parsons reveals the existence of three models entertained by Freud and Rolland: the classical reductive, ego-adaptive, and transformational. Then, reconstructing Rolland's personal mysticism through texts and letters unavailable to Freud, Parsons argues that Freud misinterpreted the oceanic feeling. In offering (...) a fresh interpretation of Rolland's mysticism, Parsons constructs a new dialogical approach for psychoanalytic theory of mysticism which integrates culture studies, developmental perspectives, and the deep epistemological and transcendent claims of the mystics. (shrink)

Charles Parsons; X*—Mathematical Intuition, Proceedings of the Aristotelian Society, Volume 80, Issue 1, 1 June 1980, Pages 145–168, https://doi.org/10.1093/ari.

Terence Parsons, Peter Woodruff; X*—Worldly Indeterminacy of Identity, Proceedings of the Aristotelian Society, Volume 95, Issue 1, 1 June 1995, Pages 171–192.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.1 (2001) 59-79 [Access article in PDF] Money and Sovereignty in Early Modern France Jotham Parsons [The mint official] must above all seek integrity in the moneys, on which our features are imprinted and on which the general good depends. For what would be safe if our image were offended, and if that which a subject ought to venerate in his heart (...) were immediately violated by a sacrilegious hand? 1Early modern French commentators on money and monetary policy were fond of quoting this very late antique chancery formula; 2 it even appears in the epigraph to one unpublished commonplace book on the subject from the early seventeenth century. 3 Its popularity was no doubt due partly to the fact that classical literature contained few other theoretical statements on the practicalities of issuing money. 4 It also showed how deeply classical humanism had shaped economic thought, as it had done to all of French political culture. This was apparent as early as 1514 in Guillaume Budé's scholarly classic, De Asse et partibus ejus. 5 By 1600 these influences had ensconced themselves so firmly that economic writers found it nearly impossible to talk about money without a [End Page 59] full panoply of classical erudition. 6 In France the second half of the sixteenth century saw the rise of a specialized, expert, and increasingly systematic tradition of monetary thought. Despite its classical vocabulary, this economic literature was in many ways "modern" in its methods, ambitions, and subject. While developing an account which aspired to a scientific explanation of commercial society and of how government and money interacted, the French commentators came to a partial realization of how radically their own society differed from those which had gone before. In this respect the prevailing climate of thought about money influenced even a writer as non-technical as Michel de Montaigne.Traditionally, scholarly treatment of early modern French economic texts has focused on a relatively small range of issues and authors. One such issue, the origins of the "quantity theory of money" (with Jean Bodin as its hero), is notable for its sterility, since that concept was not and could not have been meaningful to contemporaries. 7 The origin and development of "mercantilism" or, more broadly, of "political economy" in general, has proven a more fruitful subject of inquiry. 8 Undeniably, the changing relationships among governments, merchants, and the economy were a major public issue and, in the seventeenth century, a major site of theoretical reflection on the nature of political power generally. Even so, an excessive concentration on mercantilism is dangerous, for however one defines it, it was not the first, and for a long time not the most significant, economic discourse in France. Rather, from the 1560s well into the seventeenth century, French discussions of economic issues centered on very concrete problems brought about by the government's obligation to issue and maintain a stable currency. 9 While one would search this literature in vain for the specific doctrines of modern economics, I argue that it did represent a real achievement in the early modern understanding of commerce and the state. Though they have not received their due from scholars, the writers who took part in these debates formed a large and influential school with close ties to the actual institutions of government. 10 The French monetary theorists did an enormous amount [End Page 60] to set the stage for the mercantilist era. They developed a detailed notion of monetary economics as a specialized discipline, and above all they placed money and economic policy in the context of a multi-national system of commercial states. In so doing, they sought to comprehend and control not just money but the modern state itself.Early modern money was perched uncomfortably between commodity and fiat. Bewildering varieties of coins circulated, composed of all sorts of alloys. The government assigned a face value for each coin which it authorized to circulate in the abstract accounting unit called the "money of account." 11 This value was almost always greater than... (shrink)

Terence Parsons presents a lively and controversial study of philosophical questions about identity. Because many puzzles about identity remain unsolved, some people believe that they are questions that have no answers and that there is a problem with the language used to formulate them. Parsons explores a different possibility: that such puzzles lack answers because of the way the world is (or because of the way the world is not). He claims that there is genuine indeterminacy of identity (...) in the world. He articulates such a view in detail and defends it from a host of criticisms. (shrink)

The paper approaches the problem of rationality on the basis of the theory of action elaborated in ParsonsParsons, Talcott’ The Structure of Social Action of 1937. The voluntaristic action frame of reference, as it was called, implies the opportunity of choice in the course of actions. Predictability of the consequences of a course of action, as a prerequisite of choice, requires rational empirical knowledge and logical consistency. Choices are also dependent on norms and values, as well as on affective meanings, (...) the balancing of which requires complex calculations of costs and advantages or utilities. Appreciation of rational knowledge implies – and depends upon – a commitment to norms of rationality. The limits of rationality are set by irrationality in the sense of deviance from normative standards, but also by non-rational and non-logical factors such as tradition, religion, or art. The work of ParetoPareto, Vilfredo is taken as an important reference point as it is acknowledged to be “the most ambitious attempt to achieve a generalized formulation of a total social system of rational action.”. (shrink)

In his two recent books on ontology, Universals: an Opinionated Introduction, and A World of States of Affairs, David Armstrong gives a new argument against nominalism. That argument seems, on the face of it, to be similar to another argument that he used much earlier against Rylean behaviourism: the Truthmaker Argument, stemming from a certain plausible premise, the Truthmaker Principle. Other authors have traced the history of the truthmaker principle, its appearance in the work of Aristotle [10], Bradley [16], and (...) even Husserl [15]. But that is not my task — in this paper I argue that Armstrong’s new argument is not logically analogous to the old, and, in particular, that it is quite possible to be a thoroughgoing nominalist, and hold a truthmaker principle. (shrink)

An argument is usually said to be valid iff it is truth-preserving—iff it cannot be that all its premises are true and its conclusion false. But imperatives (it is normally thought) are not truth-apt. They are not in the business of saying how the world is, and therefore cannot either succeed or fail in doing so. To solve this problem, we need to find a new criterion of validity, and I aim to propose such a criterion.

Our culture praises—indeed revels in—the beauty of the human form. And yet, in the midst of this exuberant celebration of corporeal beauty, not even the most unreflective can be unaware of the problems that have been laid at its feet. The philosopher Kathleen Higgins notes a “pervasive impression that is widespread in our culture: that beauty, or some near kin of it, is unsavory, a temptation that might get the soul off-track” (2000, 89). In response to this suspicion, some have (...) argued that beauty is in desperate need of reform or redefinition in our time. In this essay, I attempt to analyze and evaluate this counsel. How should these claims be understood? Would we be wise to follow them? (shrink)

This important book by a major American philosopher brings together eleven essays treating problems in logic and the philosophy of mathematics.

Bioethics, Volume 36, Issue 4, Page 423-433, May 2022.

The appreciation of nature and natural beauty demands our attention as environmental issues become ever more urgent. In this timely introduction, Glenn Parsons provides an overview of philosophical work on the aesthetics of nature, identifying key conceptual questions, clarifying central theories, and analyzing the ethical ramifications of our experience of natural beauty. Outlining five major approaches to understanding the aesthetic value of nature, this second edition explores the aesthetic appreciation of nature as it occurs in wilderness, in gardens, and (...) in the context of appreciating environmental art. Now updated to cover recent developments in the field, it includes: · A new chapter on the sublime, the picturesque, and the beautiful · Expanded discussion of empirical and evolutionary accounts of nature appreciation, as well as the appreciation of the environment in non-Western cultures · A new chapter on the aesthetic appreciation of animals · An in-depth analysis of the appreciation of nature through cinema and photography · Discussion of the relation between environmental appreciation and climate change __ Combining a clear and engaging style with a sophisticated treatment of a fascinating subject, _Aesthetics and Nature_ explores the aesthetic dimension of humanity's relationship with our physical surroundings. This a must-read for anyone who cares about nature and the future of our environment. (shrink)