First published in 2000. Routledge is an imprint of Taylor & Francis, an informa company.

Alchemy is central to Jung's hypothesis of the collective unconscious. In this volume he begins with an outline of the process and aims of psychotherapy, and then moves on to work out the analogies between alchemy, Christian dogma and symbolism and his own understanding of the analytic process. Introducing the basic concepts of alchemy, Jung reminds us of the dual nature of alchemy, comprising both the chemical process and a parallel mystical component. He also discusses the seemingly deliberate mystification of (...) the alchemists. Finally, in using the alchemical process as providing insights into individuation, Jung emphasises the importance of alchemy in relating to us the transcendent nature of the psyche. (shrink)

Boghossian claims that we can acquire a priori knowledge by means of a certain form of argument, our grasp of whose premises relies on the existence of implicit definitions. I discuss an objection to his ‘analytic theory of the a priori’. The worry is that in order to employ this kind of argument we must already know its conclusion. Boghossian has responded to this type of objection in recent work, but I argue that his responses are unconvincing. Along the way, (...) I resist Ebert’s reasons for thinking that Boghossian’s argument fails to transmit warrant from its premises to its conclusion. (shrink)

Why did the Biblical writers see the fear of the Lord as a virtue that is conducive to human flourishing? It is difficult for contemporary readers to understand how fear of anything can be virtuous. I propose that the fear of the Lord should be understood as accountability to God. I defend the claim that someone who displays excellence in an accountability relationship does display a virtue, and that this virtue is particularly valuable when exercised in relation to God. If (...) we reject an individualistic view of moral motivation inspired by Kant, we can see that being held accountable does not necessarily diminish personal autonomy. The primary motivation for the person who has the virtue of accountability is not fear of punishment, but a desire to do what is right because it is right, rooted in an appreciation of the standing of one to whom one is accountable. (shrink)

John Henry Newman wrote the “Theses de Fide” in Rome as a seminary student in 1846/1847, and the text represents a key point in the development of his thought. Newman wrote the “Theses” in an attempt to grapple with scholastic categories on faith, a question that had occupied him in the Anglican Church for years. Although the “Theses” were not published in Newman’s life, he returned to these reflections often over the course of his Roman Catholic career. This edition and (...) partial translation of the “Theses de Fide” is to aid general readers in understanding this moment in Newman’s life, and to assist specialists in approaching the manuscript record of the “Theses” themselves. (shrink)

Stiff Person Syndrome is a rare autoimmune disorder associated with antibodies against glutamic acid decarboxylase, the key enzyme in γ -aminobutyric acid synthesis. In order to investigate the role of cerebral benzodiazepinereceptor binding in SPS, we performed [ 11 C]flumazenil positron emission tomography in a female patient with SPS compared to nine healthy controls. FMZ is a radioligand to the postsynaptic central benzodiazepine receptor which is co-localized with the GABA-A receptor. In the SPS patient, we found a global reduction of (...) cortical FMZ binding. In addition, distinct local clusters of reduced radiotracer binding were observed. These data provide first in vivo evidence for a reduced postsynaptic GABA-A receptor availability which may reflect the loss of GABAergic neuronal inhibition in SPS. (shrink)

A little while ago I thought the ontological argument dead and buried beyond any possible hope of resurrection and no philosophical event has caused me much greater surprise than its revival by a member of the very linguistic school to whose line of thinking it seemed most alien and who were held to have given it its quietus once for all. I am tempted to welcome any relapse into metaphysics by a member of this school as being some sign of (...) grace, but on this issue I must for once take sides with the prevailing tradition against at least this kind of metaphysics. Let me make clear, however, what it is I am combating. The term ‘ontological argument’ has been used for arguments which its original supporters would certainly not have recognised as theirs. It has been used for instance to stand for the claim that it is an essential presupposition of thought that what we must think is true of the real, a claim which could not be used to prove the existence of God unless we had available another proof that we really must think that God exists. It has been used for kinds of ‘idealist’ arguments which I do not want to discuss here. It has been used for the argument that the idea of a perfect being cannot be explained as derived from any other idea and must therefore be explained as produced in us by a being who really is perfect, an argument which appears in Descartes side by side with the ontological argument but which he carefully distinguishes from it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" argument. (...) Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

I believe the time is come for a re-estimation of the status of minds in the universe. I use the word mind quite naïvely at first, in the belief that it has a nucleus of meaning that is sufficiently clear. I do not wish its meaning to be restricted to the phenomena of clear consciousness, still less of self-consciousness.

The preparation of layers of amorphous Se by plasma-enhanced CVD using the hydride H2Se as precursor gas is described. Information concerning the structure of the films was obtained from Raman spectroscopy. The spectra of amorphous Se indicated that the dominant molecular structure is the eight-membered ring and/or a chain with Se8 molecular fragments. This material exhibited reversible photodarkening when illuminated at 77 K. In order to explain this phenomenon, we propose a mechanism which takes into account the role of the (...) lone-pair electron orbitals of Se in their contribution to structural ordering. Illumination can cause a distortion in the normal bonding direction between nearest-neighbour Se atoms and induce in this way intrinsic defect states located at the band edges. In the photo-darkened state, optical transition will occur between these defect states. (shrink)

COLLMANN: GRUNDL. WISSENSCHAFT DES BESTEHENDEN RECHTS.

Descartes and his project -- The first meditation: methodological doubt -- The second meditation: the cogito -- The third meditation: the causal argument for god's existence -- A brief interlude -- The fourth meditation: explaining the possibility of error -- The fifth meditation: the ontological argument for god's existence -- The sixth meditation: the world's existence.