Though Jung's main researches have centred on the subject of individuation as an adult ideal he has a unique contribution to make to the psychology of childhood. Jung repeatedly underlined the importance of the psychology of parents and teachers in a child's development and he emphasized that an unsatisfactory psychological relationship between parents may be an important cause of disorders in childhood. He maintained that all real education of children needs teachers who not only know how to learn but who (...) can also develop their own personalities. Jung devotes a large part of the book to expounding his views on these important subjects. There is also an outline of the theory of child development, a delightful snapshot from the life of a girl called Anna and her parents, and a stimulating discussion of marriage as a psychological relationship. Finally there is a chapter on child development and individuation. (shrink)

Book reviewed in this article: Rights Talk: The Impoverishment of Political Discourse. By Mary Ann Glendon.

Naturalistic experiments of color perception are critically evaluated. The review concludes that they fail to confirm a natural determination of color perception. Rather than demonstrating universal sensitivity to focal colors, the experiments actually yielded enormous cultural variation in response. This variation is interpreted as supporting a sociohistorical psychological explanation of color perception.

Extracted from Volumes 10, 11, 13, and 18. Includes Commentary on The Secret of the Golden Flower, Psychological Commentary on The Tibetan Book of the Dead and The Tibetan Book of the Great Liberation, Foreword to Suzuki's Introduction to Zen Buddhism, and Foreword to the I Ching.

Based on author's dissertation--Yale University.

Distinctions among juristic ways of thinking -- Classification of juristic ways of thinking in the overall development of legal history.

Simon Blackburn’s expressivist logic of attitudes aims to explain how we can use non-assertoric moral judgements in logically valid arguments. Patricia Marino has recently argued that Blackburn’s logic faces a dilemma: either it cannot account for the place of moral dilemmas in moral reasoning or, if it can, it makes an illicit distinction between two different kinds of moral dilemma. Her target is the logic’s definition of validity as satisfiability, according to which validity requires an avoidance of attitudinal inconsistency. Against (...) Marino’s arguments, I contend that expressivists following Blackburn are able to show how we appreciate the validity of arguments found in dilemma-contexts, and that Marino’s argument concerning the distinction between contingent moral dilemmas and logical moral dilemmas rests on a mistake concerning the logical representation of a contingent dilemma. (shrink)

Ecology and Revolution: Global Crisis and the Political Challenge is an in-depth exploration and analysis of the global ecological crisis (going far beyond the issue of global warming) in the larger context of historical conditions and ...

The teaching of ethics in science within the disciplines provides an avenue to deepen students’ scientific understanding and to develop their critical thinking skills. This study showcases a module which connects ethics to science within a large introductory geoscience course. The module components, a tutorial plus homework assignment and an exam question, require students to decide on ethical issues using a 5-step approach that mirrors the scientific decision-making process. The assignment is graded using a developed rubric. An analysis of exam (...) question responses reveals that students correctly identify stakeholders and mention contributions by geoscientists, but have difficulties recognizing their own assumptions. Furthermore, many acknowledge the complexity of the ethical issue at hand. The module provides an example of how disciplinary instructors can include ethics in their teaching and assess students’ ethical decision-making process. (shrink)

This chapter focuses on an explanation of the neglect of investigating and understanding emotional response to films. It argues that the kind of emotional experience a film offers is a proper target of ideological investigation. This chapter aims to suggest how emotions should be understood in ideological criticism. There is characterization of spectator emotion with a view toward conceptual clarification. This chapter examines two families of screen emotions: sentiment and sentimentality, and the emotions which accompany screen violence. Drawing on work (...) in both cognitive science and recent philosophy of mind, the chapter argues that a cognitive approach to the emotions offers a way of taking the role of emotions more seriously than it has been taken in most contemporary film theory. The chapter's usage of ‘cognitivism’ is distinctive by virtue of its challenge to the traditional distinction between reason and passion. (shrink)

The first issue concerns what can be meant by the "newness" or "originality" which Koestler attributes to the products of creative acts. One of the purposes of this paper will be to discriminate several distinct but incompatible meanings which Koestler associates with the newness in created objects. The second issue concerns whether Koestler's thesis commits him to a form of determinism or indeterminism with respect to human creative activity. The third issue raises the question whether his thesis is intended as (...) an explanatory hypothesis or as an elaborate description of common features in creative activities. This question, of course, relates directly to the initial query about the standards of understanding which are appropriate to creative acts. And it points to the last issue which concerns the metaphysical implications of the thesis. It will be my aim to argue that a development of the metaphysics implicit in the thesis would provide a more comprehensive theory that could meet at least some of the difficulties the theory raises. (shrink)

In his Art and Knowledge, the distinguished Canadian philosopher of art, James O. Young, takes on the daunting task of defending his opening claim that ‘every item properly classified as a work of art can contribute to human knowledge’. His assertion is a general one, intended to apply to any and every prospective artwork, not merely to sub-genres like the moral novel or the ‘Shock-Headed Peter’ school of didactic bedtime terror-fest. Thus, according to Young, works such as The Well-Tempered Clavier (...) and Vermeer’s Officer and Laughing Girl do not qualify as art unless they can provide knowledge about topics that are important to us as human beings. A work does not become artworthy by inspiring us to meditate, ruminate, or reflect unless the work also leads us to true beliefs that are, in some sense, justified. Furthermore, it’s not enough for a work to provide knowledge about, say, abstruse issues in eighteenth-century counterpoint or the cult of painterly flatness; to count as art, a work must, in some way, supply answers to questions that are important to us as human beings living in the world. Young also argues that artworks have their own method of conveying knowledge. Hence, he buttresses his cognitive definition of art with an epistemology of art. (shrink)

Between the two World Wars, Jørgen Jørgensen was a central figure in Danish philosophy and internationally recognized, as his teacher Harald Høffding had been before World War 1. When in the late 1920s Jørgensen established contact with the movement that would later be called logical positivism, he found a group of philosophers of his own age who advocated empiricism, the tools of formal logic and the Unity of Science, and who shared his anti-metaphysical approach to philosophy. He became one of (...) the movement’s organizers and wrote its history, but he was only for a short period influenced by especially Rudolf Carnap’s philosophy of logic. Although Jørgensen was never an uncritical member of the movement, he is often considered as a central representative of logical positivism in Scandinavia. (shrink)