“Since 1989 we have lived in a world where the nightmare of socialist science fiction has become reality: capitalism has won. With some exceptions, we have no alternative visions of economic, technological, and social future, no visions that would spring from anything besides capitalism”.1 With these words, Tomáš Pospiszyl closes the introduction to a volume that accompanied a recent exhibition about imaginary futures in socialist Czechoslovakia organized in Dům umění in Brno and Centrum současného umění Dox in Prague. Pospiszyl’s (...) idea indeed echoes through contemporary Czech culture. At second sight, however, through the over-a-century-old... (shrink)

The interest shown in marginal groups is explained by a diversity of factors. On the threshold of the modern era appeared an abundant literature devoted to a description of the world of delinquency. More particularly, these were treatises on the mysteries of the forbidden quarters of the cities of the time and on the behavior and way of life of social groups living by swindling or fraud. This being drawn to the exotic and the unusual in society, which was not (...) unrelated to an awakening of ethnological curiosity, was also seen in the flowering of a type of literature which could be called “picaresque.” It had already appeared in the last centuries of the Middle Ages, but it came into full bloom only in the 16th and 17th centuries. The Spanish picaresque novel, because of its literary brilliance and its wide acceptance by the reading public, left in the shade a multitude of similar works coming from other European countries, from the English “rogue pamphlets” to the “rogue” literature of Germany and Holland to the tales of Polish and Czech vagabonds. These literary works are closely related to treatises which claimed to be based on eye-witness accounts or which claimed to report authentic events. In reality, they were all taken from fiction and demand comparison with documentary evidence. But the abundance of this type of literature and the success it enjoyed also indicate an early awareness by modern society of the growing importance of social groups living in contradiction to the norms, manners and customs in force at the time. (shrink)

The SVD ethnologist/ethnographer mostly known as Paul Schebesta (1887-1967) was often introduced in Czechoslovakia as “our Czech” Pavel Šebesta. Querying origins, selves and homelands, his own and in his writings (ethnography/travelogues/fiction on “dwarfs” in the “primeval forest”), this essay traces the multiplicity/borderlands/nomadism of Schebesta/Šebesta, also in his relation to the “Other,” a concept/distinction/border that is thus destabilized or blurred. Interweaving apparently separate questions about his life and scholarship, the essay finds continuities and mirroring across distance and otherness. Following-mirroring (...) Šebesta/schebesta, we recognize the familiar in the strange, Silesia/moravia in Malaya, the contemporary in the primeval, the “native” in the ethnologist, the head-hunter in the biological anthropologist. The essay’s motley style mirrors what has been described as his “jumbled” writing, “highly coloured … scarcely in consonance with the scientific material”; it reflects his nomadism, emphasis on “experiencing together,” and the conflict that he sensed between “theories” and “life, rhythm, poetry.”. (shrink)

The aim of this article is to present the work of Emil Utitz, the Czech-German Jewish philosopher and psychologist, who was also a survivor of Theresienstadt. The power of the imagination and its i...

During the Third Reich, state‐sponsored violence was linked to scientific research on many levels. Prisoners were used as involuntary subjects for medical experiments, and body parts from victims were used in anatomy and neuropathology on a massive scale. In many cases, such specimens remained in scientific collections and were used until long after the war. International bioethics, for a long time, had little to say on the issue. Since the late 1980s, with a renewed interest in the Holocaust and other (...) Nazi crimes, a consensus has increasingly taken hold that research on human tissues and body parts from the Nazi era is inadmissible, and that such specimens should be removed from scientific collections and buried. The question of what to do with scientific data obtained from these sources has not received adequate attention, however, and remains unsolved. This paper traces the history of debates about the ethical implications of using human tissue or body parts from the Nazi period for scientific purposes, primarily in the fields of anatomy and neuropathology. It also examines how this issue, from after the war until today, influenced the establishment of legal and bioethical norms on the use of human remains from morally tainted sources, with a particular emphasis on Germany and Austria. It is argued that the use of such specimens and of data derived from them is unethical not only because of potential harms to posthumous rights of the victims, but also because such use constitutes a moral harm to society at large. (shrink)

This paper explores the integration of machine learning into economics and social sciences, assessing its potential impact and limitations. It introduces fundamental machine learning concepts and principles, highlighting the differences between the two disciplines, particularly the focus on causal inference in economics and prediction in machine learning. The paper discusses diverse applications of machine learning, from extracting insights from unstructured data to creating novel indicators and improving predictive accuracy, while also addressing challenges related to data quality, computational efficiency, and data (...) ownership. It emphasizes the importance of standardization, transparency, and ethical considerations in prediction tasks, recognizing that machine learning is a powerful tool but cannot replace economic theory. Ultimately, researchers remain optimistic about the transformative potential of machine learning in re-shaping research methodologies and generating new insights in economics and social sciences. (shrink)

In this paper we attempt to show that rhetoric plays an important role in economics as a science and in economy as a social system. Our task is rather demonstrative, but it aims at stripping away the illusion that economics has acquired a status equal to the natural sciences, in which there is no place for subjectivism and ambiguity. Economics belongs, after all, to the realm of the social sciences and as such it is subject to the limitations of human (...) cognition and understanding. We show that economics as a science is not free from employing sophisticated methods of persuasion and rhetoric. Next, we also try to demonstrate that rhetoric can be a useful tool in creating economic reality. It does not have influence on economic processes per se, but it is helpful in constructing an institutional architecture of the economy by influencing public opinion and decision makers. (shrink)

Hermann's Weyl Das Kontinuum has inspired several studies in logic and foundations of mathematics over the last century. The book provides a remarkable reconstruction of a large portion of classical mathematics on a predicative basis. However, diverging interpretations of the predicative system formulated by Weyl have been proposed in the literature. In the present work, I analyze an early formalization of Weyl's ideas proposed by [Casari, E. 1964. Questioni di Filosofia Della Matematica, Milano: Feltrinelli] and compare it with other, more (...) well-known, accounts, such as those proposed respectively by Feferman and Avron. In this way, I fill a gap in the literature on Weyl's predicative mathematics by shedding light on an interpretation that has never been studied. Moreover, Casari's work is plausibly the first systematic reconstruction of Weyl's system. In particular, I highlight the different insights about predicativity that can be found in Weyl's work. Casari's reconstruction focuses on the logical and mathematical processes described by Weyl in the first part of his book. Through the analysis of this unexplored perspective, I shed light on fundamental aspects of Weyl's work and elucidate the alleged ambiguities it presents. In particular, in line with Avron's most recent reconstruction of Weyl's ideas, this analysis supports a stronger conception of predicativity than what is commonly attributed to Weyl in the literature. As a result, this work not only provides an analysis of a neglected interpretation of Das Kontinuum, but also contributes to elucidating Weyl's classical conception of predicativity. (shrink)

We present a theory of truth in fiction that improves on Lewis's [1978] ‘Analysis 2’ in two ways. First, we expand Lewis's possible worlds apparatus by adding non-normal or impossible worlds. Second, we model truth in fiction as belief revision via ideas from dynamic epistemic logic. We explain the major objections raised against Lewis's original view and show that our theory overcomes them.

This monograph examines truth in fiction by applying the techniques of a naturalized logic of human cognitive practices. The author structures his project around two focal questions. What would it take to write a book about truth in literary discourse with reasonable promise of getting it right? What would it take to write a book about truth in fiction as true to the facts of lived literary experience as objectivity allows? It is argued that the most semantically distinctive (...) feature of the sentences of fiction is that they are unambiguously true and false together. It is true that Sherlock Holmes lived at 221B Baker Street and also concurrently false that he did. A second distinctive feature of fiction is that the reader at large knows of this inconsistency and isn't in the least cognitively molested by it. Why, it is asked, would this be so? What would explain it? Two answers are developed. According to the no-contradiction thesis, the semantically tangled sentences of fiction are indeed logically inconsistent but not logically contradictory. According to the no-bother thesis, if the inconsistencies of fiction were contradictory, a properly contrived logic for the rational management of inconsistency would explain why readers at large are not thrown off cognitive stride by their embrace of those contradictions. As developed here, the account of fiction suggests the presence of an underlying three - or four-valued dialethic logic. The author shows this to be a mistaken impression. There are only two truth-values in his logic of fiction. The naturalized logic of Truth in Fiction jettisons some of the standard assumptions and analytical tools of contemporary philosophy, chiefly because the neurotypical linguistic and cognitive behaviour of humanity at large is at variance with them. Using the resources of a causal response epistemology in tandem with the naturalized logic, the theory produced here is data-driven, empirically sensitive, and open to a circumspect collaboration with the empirical sciences of language and cognition. (shrink)

Philosophers and theorists have long been puzzled by humans' ability to talk about things that do not exist, or to talk about things that they think exist but, in fact, do not. _Empty Names, Fiction, and the Puzzles of Non-Existence_ is a collection of 13 new works concerning the semantic and metaphysical issues arising from empty names, non-existence, and the nature of fiction. The contributors include some of the most important researchers working in these fields. Some of the (...) papers develop and defend new positions on these matters, while others offer important new perspectives and criticisms of the existing approaches. The volume contains a comprehensive introductory essay by the editors, which provides a survey of the philosophical issues concerning empty names, the various responses to these issues, and the literature on the subject to date. (shrink)

In this paper we explore the constraints that our preferred account of scientific representation places on the ontology of scientific models. Pace the Direct Representation view associated with Arnon Levy and Adam Toon we argue that scientific models should be thought of as imagined systems, and clarify the relationship between imagination and representation.

The paper reviews proposals by Abell, Predelli, and others on the semantics of fiction, focusing on the discourse through which fictions are created. Predelli develops the radical fictionalism of former writers like Kripke and van Inwagen, on which that discourse is contentless and does not express propositions. This paper offers reasons to doubt these claims. It then explores realist proposals like Abell’s in which singular terms in fictions refer to fictional characters, understood as socially created representational artifacts, and irrealist (...) alternatives in which the discourse is fully meaningful even though those terms fail to refer. (shrink)

Works of fiction are alleged to differ from works of nonfiction in instructing their audience to imagine their content. Indeed, works of fiction have been defined in terms of this feature: they are works that mandate us to imagine their content. This paper examines this definition of works of fiction, focusing on the nature of the activity that ensues in response to reading or watching fiction. Investigating how imaginings function in other contexts, I show, first, that (...) they presuppose a cognitive infrastructure encompassing at least one additional kind of mental state, whose role is to determine, to some degree, truth in an imaginary world. I then discuss the implications for the definition of fiction, showing that the definition should be refined to accommodate the structure that imagining presupposes: a work counts as fiction just in case it mandates us, not only to imagine, but to engage in a more complex mental activity, an activity that in addition to imagining, involves positing a backdrop for our imaginings. (shrink)

In the first half of this book, I offer a theory of fictional content or, as it is sometimes known, ‘fictional truth’.The theory of fictional content I argue for is ‘extreme intentionalism’. The basic idea – very roughly, in ways which are made precise in the book - is that the fictional content of a particular text is equivalent to exactly what the author of the text intended the reader to imagine. The second half of the book is concerned with (...) showing how extreme intentionalism and the lessons learnt from it can illuminate cognate questions in the philosophy of fiction and imagination. For instance, I argue, my position helps us to explain how fiction can provide us with reliable testimony ; it helps explain the phenomenon of imaginative resistance ; and it fits with, and so supports, a persuasive theory of the nature of fiction itself. In my final chapter, I show how attending to intentionalist practices of interpreting fictional content can illuminate the nature of propositional imagining itself. (shrink)

What can we learn from fiction? I argue that we can learn about the consequences of a certain course of action by projecting ourselves, in imagination, into the situation of the fiction's characters.

Engagement with fiction often inspires emotional responses. We may pity Sethe while feeling ambivalent about her actions (in Beloved), fear for Ellen Ripley as she battles monstrous creatures (in Alien), get angry at Okonkwo for killing Ikemefuna (in Things Fall Apart), and hope that Kiyoaki and Satoko find love (in Spring Snow). Familiar as they are, these reactions are puzzling. Why do I respond emotionally if I do not believe that these individuals exist or that the events occurred? If (...) I merely imagine that my best friend has betrayed me, I do not become angry with him; if I did, I would be considered irrational. Yet although beliefs seem to be necessary for emotions in other contexts, we respond to fiction without the relevant beliefs. These observations prompt two questions about our emotional responses to fiction (henceforth: fictional emotions). The first is descriptive: Should fictional emotions be classified as the same kind of emotions we experience in other contexts? The second is normative: Are fictional emotions irrational or otherwise inappropriate? I take each of these debates in turn. (shrink)

The contemporary debate in the philosophy of literature is strongly shaped by the anticognitivist challenge, according to which works of literary fiction (that contain propositions that are neither literally true nor affirmed by the author) cannot impart (relevant) knowledge to the readers or enrich their worldly understanding. Anti-cognitivists appreciate works of literary fiction for their aesthetic values and so risk to reduce them to mere ornaments that are entertaining, but eventually useless. Many philosophers have reacted to this challenge (...) by pointing at ways in which works of literary fiction can be informative even though they lack worldly reference: it has been argued, for example, that works of fictions are thought experiments; that they add not to our theoretical knowledge, but to our know-how or to our phenomenal knowledge; or that that they help readers to understand the perspectives of others. A stubborn defense of literary cognitivism, however, risks to collapse into an instrumental understanding of literature. In my paper I suggest that both sides in the debate focus too narrowly on semantic features of the works in question that is tied to what I will call the “referential picture” of language. A shift perspective is needed: for one, we ought to fully appreciate that the term “literature” does not refer to a homogeneous phenomenon, but rather to a very heterogeneous and multifarious set of works that are read by many different readers for many different reasons in many different ways. Second, we need to understand that these works have in common much more than the semantic peculiarity of lacking worldly reference: they are a unique means of communication between authors and readers – and in particular the role of the latter is often neglected in contemporary debate. These two points should help us to get a more comprehensive understanding of the practice of literature and the vast range of values we can find works of literary fiction – and the interplay between them. (shrink)

I am going to assume, in what follows, that when we engage with a fiction we are participating in a game of make-believe; that is, that we are engaging in an imaginative effort. In this paper I shall attempt to identify the kind of game we are playing. I begin with two words of caution. First, identifying the kind of game will be a matter of finding a game whose structure best reflects the facts about our engagement with (...) class='Hi'>fiction. The fit, however, will not be exact. In a game of mud pies, the fact that the cardboard box holds a maximum of six globs of mud may make it true in the game that the oven holds a maximum of six pies, but the fact that the box has "Fyffes bananas" written on the side of it will probably not make it true in the game that the oven has the same. Second the variety of works of fiction makes it unwise to assume that one kind of game will cover all cases. These two provisos might be thought to vitiate my project before it begins. In the face of an objection to my first proviso, namely, that the kind of make-believe I maintain we play with fiction does not mirror the facts of our relations with fiction, I can reply that the structure is not isomorphic in that particular respect. In reply to the claim that in some particular instance we do not play the game of make-believe that I suggest we do, I can simply agree and count it as one of the many exceptions to the rule. (shrink)

It seems true to say that Sherlock Holmes is a detective, despite there being no Sherlock Holmes. When asked to explain this fact, philosophers of language often opt for some version of Lewis’s view that sentences like ‘Sherlock Holmes is a detective’ may be taken as abbreviations for sentences prefixed with ‘In the Sherlock Holmes stories …’. I present two problems for this view. First, I provide reason to deny that these sentences are abbreviations. In short, these sentences have aesthetic (...) properties that we should not expect of abbreviations. Second, I argue that the apparent truth of these sentences would not be explained even if they were abbreviations. An alternative is presented that avoids these problems. Following Walton, talk about fiction is viewed as a game of make-believe; following Lewis, interpretations of fiction are modelled using possible worlds. (shrink)

Most scientific models are not physical objects, and this raises important questions. What sort of entity are models, what is truth in a model, and how do we learn about models? In this paper I argue that models share important aspects in common with literary fiction, and that therefore theories of fiction can be brought to bear on these questions. In particular, I argue that the pretence theory as developed by Walton (1990, Mimesis as make-believe: on the foundations (...) of the representational arts. Harvard University Press, Cambridge/MA) has the resources to answer these questions. I introduce this account, outline the answers that it offers, and develop a general picture of scientific modelling based on it. (shrink)

Science-fiction (SF) has become a reference point in the discourse on the ethics and risks surrounding artificial intelligence (AI). Thus, AI in SF—science-fictional AI—is considered part of a larger corpus of ‘AI narratives’ that are analysed as shaping the fears and hopes of the technology. SF, however, is not a foresight or technology assessment, but tells dramas for a human audience. To make the drama work, AI is often portrayed as human-like or autonomous, regardless of the actual technological limitations. (...) Taking science-fictional AI too literally, and even applying it to science communication, paints a distorted image of the technology's current potential and distracts from the real-world implications and risks of AI. These risks are not about humanoid robots or conscious machines, but about the scoring, nudging, discrimination, exploitation, and surveillance of humans by AI technologies through governments and corporations. AI in SF, on the other hand, is a trope as part of a genre-specific mega-text that is better understood as a dramatic means and metaphor to reflect on the human condition and socio-political issues beyond technology. (shrink)

Immortality is a subject which has long been explored and imagined by science fiction writers. In his intriguing new study, Stephen R.L.Clark argues that the genre of science fiction writing allows investigation of philosophical questions about immortality without the constraints of academic philosophy. He reveals how fantasy accounts of issues such as resurrection, disembodied survival, reincarnation and devices or drugs for preserving life can be used as an important resource for philosophical inquiry and examines how a society of (...) immortals might function through a reading of the vampire myth. _How to Live Forever_ is a compelling study which introduces students and professional philosophers to the possibilities of using science fiction in their work. It includes extensive suggestions for further reading, both fictional and philosophical, and examines the work of such major science fiction authors as _Arthur C. Clarke, Frank Herbert, Larry Niven, William Gibson_, and _Colin Wilson_. (shrink)

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the validity (...) of attempts to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

What is fiction? It permeates contemporary life: via novels we read, stories we tell, box-sets we watch, and as philosophers, thought experiments we use. Many think it should be characterised in terms of a relation to the imagination. In this essay, I’ll consider prominent expressions of this view, as well as rejections of it. Before this, I’ll introduce two methodological approaches that it’s helpful to distinguish.

According to a popular view, shared by the great atheists of the nineteenth century and by students in introductory courses on the philosophy of religion, religious belief is, at best, an edifying fiction. Given that it has apparently lost the ability to edify large sections of the population , it has also lost its only real claim to credibility. Following Hegel’s famous account of the “unhappy consciousness” in the Phenomenology of Spirit, Feuerbach and his successors diagnose religion as a (...) symptom of “alienation.” Human beings have a tendency to compensate for their own shortcomings, and those of the harsh environment they inhabit, by projecting an image of human perfection and endowing this projected image with a life of its own, thereby impeding our ability to make up for these shortcomings by our own efforts. But, so the story goes, modern intellectuals have pierced through the veil erected by human psychology, economics, and religious institutions and have seen the ideas of God, heaven, and the like for what they really are—illusions that, at best, edify the weak-minded, and, at worst, perpetuate intellectual and material bondage. Call this view atheistic fictionalism. According to the received wisdom, J. G. Fichte should occupy a prominent place in any account of the pedigree of atheistic fictionalism. On the received view, Fichte is a sort of extreme subjectivist or solipsist. So one is not surprised to learn that this Fichte was accused of atheism in 1798, and forced to relinquish his chair at Jena the following year, entering the pantheon of persecuted freethinkers alongside Giordano Bruno, Galileo, and Spinoza. (shrink)

The problem of truth in fiction concerns how to tell whether a given proposition is true in a given fiction. Thus far, the nearly universal consensus has been that some propositions are ‘implicitly true’ in some fictions: such propositions are not expressed by any explicit statements in the relevant work, but are nevertheless held to be true in those works on the basis of some other set of criteria. I call this family of views ‘implicitism’. I argue that (...) implicitism faces serious problems, whereas the opposite view is much more plausible than has previously been thought. After mounting a limited defence of explicitism, I explore a difficult problem for the view and discuss some possible responses. (shrink)

Interest in teaching business ethics classes on college campuses has increased dramatically during the past decade. In the United States, virtually all graduate and undergraduate business programs teach business ethics in some form. While current pedagogy relies primarily on factual recounting of actual workplace incidents and actual and hypothetical case studies, calls for multidisciplinary approaches to teaching business ethics have not yet produced significant pedagogical change. We propose the use of fiction (novels, dramas, and short stories) to enrich current (...) teaching materials. This paper illustrates the tremendous power of stories which deal with ethical dilemmas in business to illuminate moral issues in ways that lead to a clearer understanding of ethical theory. The fiction cited in this paper is all drawn from American literature. It seems likely that similar sources could be found in the literature of other countries. (shrink)

Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of (...) the figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon's notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arise out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain stability within a system. In the case of archival films in which transduction occurs without prior intention or expectation, transduction can be foregrounded and prolonged. The connection between transduction and the “trembling meaning” of Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of film matter and its interferences with the figurative content. (shrink)

ABSTRACT The article examines the phenomenon known as the quarter-life crisis. The aim was to explore how young people in the Czech Republic practising Buddhism experience this crisis and how Buddhism influences the way they cope. Qualitative research was used to gain insight into how respondents experience this life phase and whether they perceive the world of too many opportunities as a challenge or a problem. The relationship with consumer culture and material consumption was discussed along with the practice (...) of Buddhism and the way Buddhism-based values play a role in influencing respondents’ lives. Respondents showed they are missing a set of principles and values to ease their orientation in the world and their decision-making process. They found in Buddhism a structure that helps them form a delimitation against consumer and non-sustainable production. As a result of adhering to Buddhism and engaging in some practices based on Buddhism, they reported more control in self-directing together with a growth in self-confidence during the decision-making process. At the same time, they overcame feelings of exclusion, observed as one of the manifestations of a young age crisis. They reported that establishing contacts with like-minded young people, whether in meditation, sports centres or discussion forums on social networking sites, gave them a sense of belonging to a group. (shrink)

The volume represents a selection of the articles which were presented at a colloquium on new research topics in aesthetics at the Austrian Library in Pilsen in September 2010. Their authors, Czech and Austrian scholars, address various topics, ranging from the institutional history of aesthetics to the relationship between philosophical aesthetics and psychology, and from the philosophy of literature to the aesthetics of fine arts, dramatic arts, and architecture.

If feeling a genuine emotion requires believing that its object actually exists, and if this is a belief we are unlikely to have about fictional entities, then how could we feel genuine emotions towards these entities? This question lies at the core of the paradox of fiction. Since its original formulation, this paradox has generated a substantial literature. Until recently, the dominant strategy had consisted in trying to solve it. Yet, it is more and more frequent for scholars to (...) try to dismiss it using data and theories coming from psychology. In opposition to this trend, the present paper argues that the paradox of fiction cannot be dissolved in the ways recommended by the recent literature. We start by showing how contemporary attempts at dissolving the paradox assume that it emerges from theoretical commitments regarding the nature of emotions. Next, we argue that the paradox of fiction rather emerges from everyday observations, the validity of which is independent from any such commitment. This is why we then go on to claim that a mere appeal to psychology in order to discredit these theoretical commitments cannot dissolve the paradox. We bring our discussion to a close on a more positive note, by exploring how the paradox could in fact be solved by an adequate theory of the emotions. (shrink)

The phenomenon of religious belief has been much discussed in philosophy of religion. However, a priori argumentation alone cannot establish what religious belief is like as a psychological attitude. Recent advances in the cognitive science of religion have paved the way for a new, naturalized philosophy of religion. Taking into account the relevant results and hypotheses presented within these disciplines, it is possible to develop a more empirically informed philosophy of religious belief. Instead of asking whether believing is rational, it (...) is here asked how religious belief is cognitively possible. Combining Boyer's evolutionary account of religion with Sperber's and Cosmides and Tooby's theory of metarepresentation, we get the sort of conceptual toolkit needed to specify those cognitive mechanisms and operations that make religious belief possible. Religious belief is shown to require a unique combination of these mechanisms and operations. (shrink)

This article draws out the political implications of some of the avatars of ancient skepticism in modern fiction. It relies on Martha Nussbaum’s claim that fiction can provide some of the best lessons in moral philosophy to refute her claim that ancient skepticism was a bad influence on morals. It surveys references to skepticism from Shakespeare through such diverse writers as Isabel de Charrière, Herman Melville, Mark Twain, Anatole France, and Albert Camus down to recent writers such as (...) Orhan Pamuk and Michel Houellebecq. The most substantial treatment is of Naguib Mahfouz’sCairo Trilogy, which is interpreted in two ways: one, as an example ofisostheniaor equipollence in arguments on both sides of questions about gender in the Islamic world, and two, as the biography of a person who claims to be a self-conscious skeptic. Skepticism emerges as a multi-faceted concept in modern literature, but there are definite references back to the ancient skeptics, including mention of the name Pyrrhonism and knowledge of the writings of Sextus Empiricus. The political implications militate against dogmatic claims to truth and knowledge of a one-dimensional justice. (shrink)

This report characterizes the state of affairs in the field of business ethics in Central and Eastern Europe. It reveals the major problems and challenges brought about by the profound reforms to these societies and economies. It also offers some results of surveys looking at public opinion on morals and ethics, as well as on current business practices. In order to give a complex picture, it presents brief lessons from the history of particular countries. The author, devoting the most attention (...) to the Czech Republic, tries to describe not only the development of business ethics in the theoretical arena but also the first steps taken by the business world itself. (shrink)

Many philosophers have attempted to provide a solution to the paradox of fiction, a triad of sentences that lead to the conclusion that genuine emotional responses to fiction are irrational. We suggest that disagreement over the best response to this paradox stems directly from the formulation of the paradox itself. Our main goal is to show that there is an ambiguity regarding the word ‘exist’ throughout the premises of the paradox. To reveal this ambiguity, we display the diverse (...) existential commitments of several leading theories of emotion, and argue that none of the theories we consider are committed to notions of ‘exist’ employed by the paradox. We conclude that it is unclear whether or not there remains a paradox of fiction to be solved—rather than to be argued for—once this ambiguity is addressed. (shrink)

Cet article a pour but de montrer que l’analyse humienne de la justice, et en particulier de l’obligation des promesses telle qu’elle est présentée à la section 5 de la seconde partie du livre III du Traité de la nature humaine, repose sur une conception fictionnaliste de la motivation morale, au sens où l’obligation naturelle de justice (notamment de fidélité) est une fiction. Si cette conception est cohérente avec d’autres aspects de la philosophie de Hume, d’une part, et si (...) elle est une preuve supplémentaire que Hume n’est pas un précurseur de l’utilitarisme, d’autre part, celle-ci risque néanmoins de réduire la justice à une forme de superstition utile. (shrink)