Sir Arthur Eddington, the celebrated astrophysicist, made great strides towards his own 'theory of everything'in his last two books published in 1936 and 1946. Unlike his earlier lucid and authoritative works, these are strangely tentative and obscure - as if he were nervous of the significant advances that he might be making. This volume examines both how Eddington came to write these uncharacteristic books - in the context of the physics and history of the day - and what value they (...) have to modern physics. The result is an illuminating description of the development of theoretical physics, in the first half of the twentieth century, from a unique point of view: how it affected Eddington's thought. This will provide fascinating reading for scholars in the philosophy of science, theoretical physics, applied mathematics and the history of science. (shrink)

MEDIEVAL LOGICS LAMBERT MARIE DE RIJK (ed.), Die mittelalterlichen Traktate De mod0 opponendiet respondendi, Einleitung und Ausgabe der einschlagigen Texte. (Beitrage zur Geschichte der Philosophie und Theologie des Mittelalters, Neue Folge Band 17.) Miinster: Aschendorff, 1980. 379 pp. No price stated. THE SEVENTEENTH CENTURY MARTA FATTORI, Lessico del Novum Organum di Francesco Bacone. Rome: Edizioni dell'Ateneo 1980. Two volumes, il + 543, 520 pp. Lire 65.000. VIVIAN SALMON, The study of language in 17th century England. (Amsterdam Studies in the Theory (...) and History of Linguistic Science, Series 111: Studies in theHistory of Linguistics, Volume 17.) Amsterdam: John Benjamins B.V., 1979.x + 218 pp. Dfl. 65. Theoria cum Praxi. Zum Verhaltnis von Theorie und Praxis im 17. und 18. Jahrhundert. (Akten des 111. Internationalen Leibnizkongress, Hannover, 12. bis 17.November 1977, Band 111: Logik, Erkenntnistheorie, Wissenschaftstheorie, Metaphysik, Theologie.) Wiesbaden: Franz Steiner Verlag, 1980. vii + 269 pp. DM 48. CLASSICAL AND NON-CLASSICAL LOGICS MICHAEL CLARK, The place of syllogistic in logical theory. Nottingham: University of Nottingham Press, 1980. ix + 151 pp. £3.00. A.F. PARKER-RHODES, The theory of indistinguishables. Dordrecht, Boston and London: D. Reidel Publishing Company, 1981. xvii + 216 pp. Dfl.90.00/$39.50. NICHOLAS RESCHER and ROBERT BRANDOM, The logic of inconsistency. Oxford:Basil Blackwell, 1980. x + 174 pp. f 11.50. MISCELLANEOUS J. ZELENY, The logic of Marx. Translated from the German by T. Carver. Oxford: Basil Blackwell, 1980. xcii + 247 pp. £12.50. FELIX KAUFMANN, The infinite in mathematics. Edited by Brian McGuinness. Introduction by E. Nagel. Translation from the German by Paul Foulkes. Dordrecht: Reidel, 1978. xvii + 235 pp. Dfl 85/$39.50 (cloth); Dfl 45/$19.95 (paper). PAMELA MCCORDUCK, Machines who think. San Francisco: W.H. Freeman and Company, 1979. xiv + 275 pp. $14.95. J. MITTELSTRASS (ed.), Enzyklopadie Philosophie und Wissenschaftstheorie Bd. 1 : A-G. Mannheim, Wien, Ziirich: Bibliographisches Institut, 1980. 835 pp. DM 128. (shrink)

Preparing the Next Generation of Oral Historians is an invaluable resource to educators seeking to bring history alive for students at all levels. Filled with insightful reflections on teaching oral history, it offers practical suggestions for educators seeking to create curricula, engage students, gather community support, and meet educational standards. By the close of the book, readers will be able to successfully incorporate oral history projects in their own classrooms.

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are capable (...) of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (shrink)

T'Challa, seemingly risen from the dead after having suffered grievous wounds and a fall from a high cliff, openly challenges Erik Killmonger's right to be called King of Wakanda. With T'Challa's return, Killmonger orders W'Kabi to "kill this clown," but Okoye decides to follow tradition, not Killmonger, saying to her husband W'Kabi that "the challenge is not complete." The same principle is at work when, earlier in the film, T'Challa engages in ritual combat against M'Baku, leader of the Jabari (...) Tribe. T'Challa, occupying the most privileged position, can smile bemusedly and shake his head at Shuri's outburst, and a child in the crowd can innocently slap his hand to his forehead in disbelief; but the adults present are not amused at Shuri's transgressions. Shuri may be the most visible gadfly, but the harshest – and, ultimately, most effective – critics of Wakanda's kings are Killmonger, Nakia, and T'Challa himself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Some Suggestions about the Moral Philosophy of George Berkeley* PAUL J. OLSCAMP WHILE TRAVELLINGIN ITALYin 1716, Berkeley lost the second part of his Principles of Human Knowledge. Much later he wrote to Dr. Johnson in America, saying that he did not have the energy to do something so disagreeable as writing the same thing twice? This manuscript contained Berkeley's ethics and metaphysics, but in spite of its loss, there (...) is much to be learned about Berkeley's moral philosophy from his extant writings. Surprisingly, very little has been written about Berkeley's ethics, and what has been written usually concentrates on Passive Obedience and virtually ignores the rest of his worksY Most of the terminology now used to classify and criticize ethical theories was, of course, unknown to Berkeley. In spite of this, much of what he says may be fruitfully compared with some of the claims of modern ethicists. I shall try to show that many of his claims might have been strikingly modern, a In this paper however, I can only deal with what would now be called the normative part of Berkeley's theory, so, perhaps, it would be of some use to give a general *All references to Berkeley's writings are to the Jessop and Luee edition, The Works o] George Berkeley, Bishop o] Cloyne (9 vols.; London: Nelson and Sons Ltd., 1948). I shall abbreviate the titles of the works in this collection as follows: A/c. for A/~phron, or the Minute Ptdlosopher; DraJt for The First Dra]~ o] the Introduction to the Priuciple8 o] Human Knowledge; Principles for The Principles o] Human Knowledge; P.O. for Passive Obedience; Disc. for A Discourse to the Macistrates; T.V. for An Essay Towards a New Theory o] Vision; T.V~E. for The Theory o] Vision Vindicated and Explained; P.C. for philosophical Commentaries; Corr ]or Philosophical Correspondence; DHP for Three Dialooucs Between Hylas and Philonous. I am deeply indebted to Professor Richard T. Garner for his help in the preparation of thispaper. 1Corr., II, 282. 'The other references are: C. D. Broad, "Berkeley's Theory of Morals," Revue Internationale de Philosophie (1953); Graham P. Conroy, "Berkeley on Moral Demonstration, Journal o] the HisLory o] Ideas, XXII (1961), and Conroy's doctoral dissertation, Language and Morals in Berkeley's Philosophy (Berkeley, 1957); H. D. Aiken, "The Fate of Philosophy in the Twentieth Century," The Kenyon Review (Spring, 1962); kvrum Stroll, The Emotive Theory o] Ethics (Berkeley and Los Angeles: University of California Press, 1954); Ernest Albee, A History o] English Utilitarianism (London: Alien & Unwin, 1901), chap. xv; I. A. Richards and C. K. Ogden, The Meaning o] Meaning (New York: Harcourt Brace and Co., 1923), p. 42; P. J. Olscamp, A Berlceleyan Analysis o] the Uses o] Language in Ethics, (doctoral dissertation, University of Rochester, 1962); W. V. Denard, "Berkeley's Theological Utilitarianism," Acres de XI" eongr~s internationale de philosophic, XIII (1953), 87-93; G. A. Johnston, "The Development of Berkeley's Ethical Theory," Philosophical Review, XXIV, 419-430; H. W. Orange, "Berkeley as a Moral Philosopher," Mind, XV (old series), 514-523. =The definitions of any technical terms I may use will be found in William K. Frankena, Ethies, (Englewood Cliffs, New Jersey: Prentice-Hall Foundations of Philosophy Series, 1963). [147] 148 HISTORY OF PHILOSOPHY outline of the main features of what I think his entire system would have been, before examining part of it in more detail. Berkeley was first and last a Christian clergyman, and he therefore believed in the existence of a personal, wise, and benevolent God whose being was relevant to our daily lives. He was convinced that the natural world provides evidence for this belief, evidence as sound as that which we have for the existence of other minds. Given that the esse of objects consists in their being perceived, that only minds are active, and that no human perceiver perceives all things at all times, it follows that a cosmic mind maintains the universe it created. Moreover, the system of nature is not random, but regular; it is, in fact, a divine language in which God makes his intentions known to us, and demonstrates his wisdom... (shrink)