This book examines the theory and practice of argument in primary, secondary and tertiary education. Several of its chapters offer theoretical discussion of the forms and functions of argument within social, philosophical, historical and rhetorical contexts.

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic (...) images from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

While there is hardly an aspect of Hume’s work that has not produced controversy of one sort or another, deciphering and evaluating his views on aesthetics involves overcoming interpretive barriers of a particular sort. In addition to what is generally taken as the anachronistic attribution of “aesthetic theories” to any thinker of the eighteenth century, Hume presents the added difficulty that unlike the other founding-fathers of modern philosophical aesthetics, he produced no systematic work on the subject, and certainly nothing comparable (...) to his efforts in epistemology, morals, politics, history, and religion. Even interpreting Hume’s most definitive expression of his views on aesthetic questions—the famous essay “Of the Standard of Taste”—is fraught with difficulties and, as the diversity of views on the piece demonstrates, only the most confident reader would take it as an unambiguous statement of Hume’s position. (shrink)

In his account of musical interaction and temporality, Schutz's outer-inner distinction appears to capture a component of everyday experience. But engagement with Wittgensteinian philosophy reveals Schutz's false contrast between literal and metaphorical components of language, a series of philosophical confusions stemming from reifications of mental verbs, and the attribution of genuine duration to phenomena that have life as linguistic objects. Consequently, Schutz's intended account of social interaction comes to rest upon a radically private concept of the subject. A sociology of (...) time, it is concluded, can avoid these conceptual traps by attending to the linguistic component of temporality. (shrink)

Defines the cutting-edge of scholarship on ancient Greek history employing methods from social science.

This paper traces the systematic connections between the structure of Hume's argument in "Of the Standard of Taste" and the way Kant presents the Antinomy of Taste in his Critique of Judgment. It is argued, however, that although there are striking parallels between the way Hume and Kant formulate their respective antinomies, there are significant differences in the way the two philosophers solve them. For while Hume's approach reflects his scepticism about the place of philosophy in common life, Kant's solution (...) confirms his view that philosophy can effectively correct the errors into which human reason naturally falls. (shrink)

This paper considers whether Kant’s aesthetics withstands the challenge of conceptual art. I begin by looking at two competing views of conceptual art by recent philosophers, before settling on an ‘inclusive’ view of the form: conceptual art includes both ‘strong’ and ‘weak’ non-perceptual art (NPA). I then set out two kinds of conceptual complexity that I argue are implicated by all aesthetic judgements of art (as art) on Kant’s view: the concept of art itself, and the idea the work is (...) meant to express (dependent beauty and aesthetic ideas, respectively). I go on to demonstrate the applicability of Kant’s aesthetics to conceptual art by considering two works by Lawrence Weiner, which I take to be a work of work of weak and strong NPA respectively. (shrink)

The purpose of this paper is to discuss Miller’s recent claim that 1) the ideal of value-freedom is implausible because evidence from experimental psychology reveals how scientific reasoning is val...

This article contains a survey of recent debates in the philosophy of photography, focusing on aesthetic and epistemic issues in particular. Starting from widespread notions about automatism, causality and realism in the theory of photography, the authors ask whether the prima facie tension between the epistemic and aesthetic embodied in oppositions such as automaticism and agency, causality and intentionality, realism and fictional competence is more than apparent. In this context, the article discusses recent work by Roger Scruton, Dominic Lopes, Kendall (...) Walton, Gregory Currie, Jonathan Cohen and Aaron Meskin, Noël Carroll, and Patrick Maynard in some detail. Specific topics addressed include: aesthetic scepticism, transparency, imagination, perception, information, representation and depiction. (shrink)

In general, stimuli that are familiar and recognizable have an advantage of predominance during binocular rivalry. Recent research has demonstrated that familiar and recognizable stimuli such as upright faces and words in a native language could break interocular suppression faster than their matched controls. In this study, a visible word prime was presented binocularly then replaced by a high-contrast dynamic noise pattern presented to one eye and either a semantically related or unrelated word was introduced to the other eye. We (...) measured how long it took for target words to break from suppression. To investigate word-parts priming, a second experiment also included word pairs that had overlapping subword fragments. Results from both experiments consistently show that semantically related words and words that shared subword fragments were faster to gain dominance compared to unrelated words, suggesting that words, even when interocularly suppressed and invisible, can benefit from semantic and subword priming. (shrink)

Leech et al. make two proposals: that relational priming is central to analogy, and that relations between objects are best represented as transformations of those objects. Although their account of analogy as relational priming is a useful contribution to our understanding of analogical development, in this commentary I show that relations in general cannot be represented by transformations.

This book is a philosophical study of the Freudian psychoanalysis of religion from a hermeneutical perspective.

This book seeks to join the ongoing, interdisciplinary approach to children’s literature by means of sustained readings of individual texts by means of important works in the history of philosophy. Its inclusion of authors from both various departments—philosophy, literature, religion, and education—and various countries is an attempt to show how traditional boundaries between disciplines might become more permeable and how philosophy offers important insights to this interdisciplinary, critical conversation.

This book is a series of readings of phenomenological texts and novels for children that carves out an interdisciplinary space that allows phenomenology to offer provocative literary analyses.