We review here the data indicating a role for epidermal growth factor receptor (EGF receptor) signalling in early mouse development. Embryonic development of the metazoan embryo generally begins with the formation of a cystic structure and epithelial layers that subsequently form anlagen of the definitive body parts and organs. For the mammalian embryo, this cystic structure is a blastocyst whose wall consists of trophectoderm, the first epithelium to develop during mammalian embryogenesis. The onset of expression and function of EGF receptors (...) is coincident with the onset of trophectoderm development. Modulating EGF receptor expression and function modulates trophectoderm differentiation, leading to the hypothesis that functional EGF receptors participate in the induction of trophectoderm development and perhaps of other embryonic epithelial derivatives such as nervous tissues. (shrink)

Through the personal stories of managers running global business, this book takes an inside look into the dilemmas of managers who are asked to make profits ethically according to the dictates of their company's ethics code. It examines what companies `think" they are doing to help managers in those situations and how those managers are actually affected. Thanks to the boost from the 1991 Sentencing Guidelines which minimizes penalties for companies with ethics codes caught in ethical wrongdoing, more than 85% (...) of US companies and two thirds of all Canadian companies and half of all European companies now have Codes of Ethics. Yet, over and over, we hear of stories of personal dilemmas and conflicts experienced by individual managers navigating those business waters in other cultures. "Eileen Morgan does an excellent job of mapping the course for navigating the previously uncharted global ethical waters. By identifying best practices, she leads the reader on a journey from Surviving, to Understanding to Knowing the ethical issues that frequently confront international business people. This is a must read for anyone who wants to successfully compete in world markets." -Michael J. Litwin, Executive Vice President, Chief Credit Officer, Heller Financial, Inc. "Eileen Morgan has combined the pragmatic concerns of the individual manager with the moral concerns that come from personal-life history, cultural roots, and corporate ethical culture …This book focuses on the constructive task of formulating and using an "ethical map," and is sure to be a tonic to conscientious managers who want to navigate cross-cultural commerce with integrity. It has done a superb job of creating order out of the complexity of cross-cultural moral experience by insisting that the complexity must be honored and appropriated rather than ignored or suppressed." -Dr. Richard Beauchamp, Professor of Ethics, Christopher Newport University "In this groundbreaking book, Eileen Morgan has provided scores of real-life examples and developed a framework for approaching ethical leadership in international business. This is mandatory reading for anyone involved in global management today...This is an important book on an important subject." -Stephen H. Rhinesmith, Ph.D. Author, A Manager's Guide to Globalization "Eileen Morgan provides us with a much needed roadmap for how to walk the path of ethical leadership with practical feet. She reminds us that ethical decision-making is a critical aspect of every day leadership, and that we can all choose to be 'ethical pioneers' in our companies and our communities. Every leader engaged in global business can benefit from the lessons and stories included in this book." -Christi A. Olson, Ph.D. Chair, Telecommunications Management Department, Golden Gate University "Eileen Morgan's thoughtful analysis of 'ethical capital' should be read by anyone who does business in a global environment…Morgan's book presents the issue clearly, comprehensively and compellingly, demonstrating that ethics is an indispensable aspect of individual leadership and organizational credibility. …It provides a clear roadmap for business leaders who need to communicate their commitment to integrity and accountability to their employees, their partners, and their customer, making their 'ethical capital' one of their most valuable assets." -Nell Minnow, Principal, Lens, The Corporate Governance Investors "Eileen Morgan gives excellent insight into ethical practices. She focuses on business but her insights have general application. This book also describes differences in ethical interpretation that can arise between diverse cultures. Ms. Morgan has made an excellent contribution to understanding the benefit of positive ethical practices." -David C. Lincoln, Sponsor, Lincoln Center for Applied Ethics, College of Business, Arizona State University President, Arizona Oxides, LLC · First in-depth look at how managers in global companies actually bridge the gap between their organizations and their daily decisions · Explains the need for internal and external ethical operations¦and how organizations often create confusion rather than clarity with the label of "ethics". (shrink)

continent. 1.4 (2011): 240—241. “Pirogenetico, Pirogenetico”, 2009 Installation composée de deux tables en métal et trois blocs d’obsidienne et leur moulages. © Coll.Centre Pompidou / Distr. RMN I'm not so sure that art is so ambiguous. I just think it's not linguistic. It's more full and complex than language— we can experience it but not explain it. —Jimmie Durham(1) Jimmie Duraham is an American artist of Cherokee descent. He’s a visual artist and a political activist for the American Indian Movement. (...) Pirogenetico pirogenetico (2009) was recently installed at the Centre Pompidou as part of their “New Presentation of the Contemporary Collections.” His work is replete with wild ideas shaped by a sage, unpretentious impulse and an automatic responsibility to history, particularly his own Cherokee history. Confident from instability, and free from pedagogical language, he strings form and words together that sharply pierce the atmosphere of ideology. Durham doesn’t follow a line and he doesn’t depend on the scaffold of language, but the work makes a remarkable point. Pirogenetico, pirogenetico is a collection of three obsidian rocks, cut and then cast as a double in German silver. Each threesome sits on its own low metal table, forming a diptych. The cut of the original follows the shattering nature of obsidian, which Durham undercuts and monumentalizes in the double. The derivative double and its mannered original: they are nearly too beautiful but still can’t deny the violence. If Durham’s irony, his edge, is obscured by the volume of his forms, it’s reactivated in a video on the adjacent wall where the obsidian cuts through a heart organ. Durham’s syntax is spare. He knows that language isn’t big enough to tell the story, reminding us, as Lacan stated, “I always speak the truth. Not the whole truth... because saying it all is impossible: words fail.”(2) In place of language Durham uses an alternative accuracy that compounds history with the present, a mashup of material things, a collision of aesthetics that shakes down conventional wisdom, replacing it with searing poetry. NOTES (1) Heyokamagazine. “ Jimmie Durham: The Pursuit of Happiness .” (2) Lacan, Jacques. Television: A Challenge to the Psychoanalytic Establishment . Ed. Joan Copjec. Trans. Dennis Hollier, Rosalind Kraus, and Annette Michelson. (New York: Norton, 1990). p. 18. (shrink)

Bryan Ronald Wilson, a Fellow of the British Academy, was a world-renowned sociologist of religion. He was awarded a D.Litt. by the University of Oxford in 1994, the same year that he was elected a Fellow of the British Academy. Wilson was also awarded an Arnold Gerstenberg studentship, which allowed him to take up a place at the London School of Economics, where Maurice Ginsberg introduced him to the literature of the sociology of religion and where he developed a life-long (...) interest in sectarian movements. He returned to Yorkshire to take up an Assistant Lectureship in Sociology in the Department of Social Studies at the University of Leeds in October 1955, being promoted to Lecturer in 1957. There Wilson taught courses on urban sociology, sociological theory, and the social institutions of modern Britain, as well as on the sociology of religion. He was a Fellow of All Souls College for thirty years. The themes of secularisation, rationalism, and sectarianism were of particular interest to Wilson throughout his academic life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THREE NOTIONS OF RESOLUTIO AND THE STRUCTURE OF REASONING IN AQUINAS 1 EILEEN c. SWEENEY Boston College Chestnut Hill, Massachusetts RESOLUTIO, better known by the English transliteration of its Greek counterpart, "analysis," has been touted as " the conceptual model for some of the most important ideas in the history of philosophy, including the history of the methodology and philosophy of science." 2 But while resolution /analysis may (...) be important in the histories of philosophy and science, its own history is, to say the least, confused. A Renaissance commentator, Jeremias Triverius gives some sense of this when, after giving a list of four methods of dialectic (division, definition, demonstration, and resolution),3 he writes, 1 I have used the following abbreviations for works by Thomas Aquinas. All translations of Aquinas are my own. Commentum in Quatuor Libros Sententiarum (ed. Busa): In Sent; Compendium Theologiae (ed. Busa): Comp Theo!; E:rpositio Super Librum Boethii De Trinitate (ed. Decker): Exp de Trin; In Aristotelis Libros Posterium Analyticorum (ed. Marietti) : In Anal Post; In Duodecem Libros Metaphysicorum Aristotelis E:rpositio (ed. Marietti): In Meta; In Librum Beati Dionysii De Divinis Nominibus E:rpositio (ed. Marietti): In Div Nom; Sententia Libri Ethicorum Aristotelis ad Nichomachum: In Ethic; Sententia Libri Politicormn Aristotelis (ed. Leonine): In Pol; De Substantiis Separatis (ed. Busa): De Sub Sep; Summa Contra Gentiles (ed. Leonine): SCG; Summa Theologiae (ed. Leonine): ST; Questiones Disputatae de Veritate: QDV. 2 Jaakko Hintikka and Unto Remes, The Method of Analysis (Boston: D. Reidel, 1974), p. 1. s These four methods of dialectic are also given by a number of ancient commentators, for example, Ammonius (In Porphyrii Isagogen, in Commentaria in Aristotelem Graeca [hereafter, CAG], ed. Maximilian Wallies [Berlin, 1891], vol. IV, pt. 6, p. 34, 11. 19-20) and a later commentator, David (Davidis Prolegomena et in Porphyrii Isagogen Commentarium, CAG, ed. Adolf Busse [Berlin, 1904], vol. 18, p. 88, 11. 6-10). 197 198 EILEEN C. SWEENEY Now anyone who has some knowledge of dialectical matters knows what Definition, Division, and Demonstration are. There is no general agreement, however, so far as I can see, on Resolution. Some identify it with Division. Others regard it as contrary [to Divi- • ] 4 S!On, ••• Triverius, like many modern commentators, adds to, rather than sorts out, the confusion, continuing, " And since each one is entitled to his opinion, I am now maintaining that Resolution is contrary to Demonstration...." 5 Many centuries before Triverius we find a similar ambiguity in Greek commentators on Aristotle, who outline several types of analysis. Unlike Triverius, however, most seem untroubled by the multiple types; Ammonius and David, without puzzlement, explain carefully that analysis is the opposite of each of the other three methods.6 The lack of 4 Jeremias Triverius, In texnhn [sic] Galeni clarissimi commentarii (Lyon, 1547), p. 14; cited and translated in Nea! Gilbert, Renaissance Concepts of Method (New York: Columbia University Press, 1960), p. 106. Galen's opening remarks of the Ars medica, giving three methods of teaching (analysis, synthesis, and definition) is a common locus for the discussion of resolution/ analysis in the Middle Ages and Renaissance. Galen's contribution, at least for Aquinas, seems to have been completely mediated by Medieval Arabic commentators. Galen's own discussions are either incomplete, as in the opening passage to the Ars medica (in Claudii Galeni Opera Omnia, ed. C. G. Kiihn, [Repr. Hildesheim: Georg Olms, 1965], vol. I, pp. 305-306), which merely mentions the word, or are unclear accounts of analysis (Cf. Galen's discussion of analysis in De Peccatorum, in Opera Omnia, vol. 5, ch. 5, pp. 80-81). On two of the Arabic commentaries' descriptions of analysis to accompany medieval translations of Galen, see below, nn. 80 & 83. On Galen's supposed contribution to the notion of resolution and method in the development of experimental science, see A. C. Crombie, Robert Grosseteste and the Origins of Experimental Science (Oxford: Clarendon Press, 1953), especially pp. 7680, and Gilbert, Renaissance Method, pp, 13-27, 44-46. 5 Triverius, In texnhn, p. 14; Gilbert, p. 106. 6 For analysis as the opposite of division, definition, and demonstration, see Ammonius, In Aristotelis Analyticorum Priorum Librum I Commentarium, CAG, ed. Maximilian Wallies, (Berlin, 1891... (shrink)

D. J. Bartholomew Social law and human choice Samuel Johnson spoke for many in saying, 'Sir, we know our will is free, and there's an end on't. ...

Etude de la théorie de la supposition développée par Saint Thomas d'Aquin dans le cadre de ses réflexions sur les universaux. Distinguant les différents types de supposition et leur relation avec la signification, l'A. montre que la théorie thomiste de la supposition illustre la position théologique et métaphysique de Saint Thomas concernant l'unité du divin.

Margaret Cavendish was an English natural philosopher. Influenced by Hobbes and by ancient Stoicism, she held that the created, natural world is purely material; there are no incorporeal substances that causally affect the world in the course of nature. However, she parts company with Hobbes and sides with the Stoics in rejecting a participate theory of matter. Instead, she holds that matter is a continuum. She rejects the mechanical philosophy's account of the essence of matter as simply extension. For Cavendish, (...) matter is also essentially living, sensing, and rational. She also rejects the mechanical philosophy's explanation of change solely in terms of transference of motion. Her own explanation of change relies upon a notion of "occasional cause." This paper argues that Cavendish's occasional causes are not to be confused with those of Malebranche; hers have some efficient causal powers. It traces the concept of an occasional cause from the ancient Stoics, through Galen, to Renaissance natural philosophers such as J. B. van Helmont, and ultimately to Cavendish and to Descartes. Thus, the aim of the paper is to explicate Cavendish's non-mechanical model of natural change and to show how the key concept in this model, that of "occasional cause," has a long philosophical pedigree. L'anglaise Margaret Cavendish pratique la philosophic naturelle. Sous l'influence de Hobbes et du stoïcisme ancien, elle a soutenu que le monde naturel créé est purement matériel ; dans le cours de la nature, il n'y a pas de substances incorporelles qui affectent causalement le monde. Elle se sépare néanmoins de Hobbes et rejoint les Stoïciens dans son rejet d'une théorie de la matière particulaire. Elle considère au contraire que la matière est un continuum. Elle rejette l'explication de l'essence de la matière comme simple extension, fournie par la philosophic mécaniste. Pour Cavendish, la matière est de plus essentiellement vivante, sentante et rationnelle. Elle rejette aussi l'explication mécaniste du changement en simples termes de transmission de mouvement. Sa propre explication du changement s'appuie sur la notion de cause occasionnelle. Cet article defend l'idée que les causes occasionnelles de Cavendish ne doivent pas être confondues avec celles de Malebranche ; les siennes ont des pouvoirs causaux efficients. Il permet done de suivre l'histoire du concept de cause occasionnelle des anciens Stoïciens, en passant ensuite par Galien jusqu'aux Philosophes de la nature de la Renaissance, comme J. B. van Helmont, et finalement jusqu'à Cavendish et Descartes. Le but de cet article est ainsi de rendre explicite le modèle que Cavendish donne du changement naturel et de montrer comment le concept clé de ce modèle, celui de cause occasionnelle, est le produit d'une longue filiation philosophique. (shrink)

The Morality of Happiness By Julia Annas, Oxford University Press, 1993. Pp. x + 502. ISBN 0–19–507999‐X. £45.00 (hbk), £13.99 (pbk).Dimensions of Creativity By Margaret A. Boden (ed.) MIT Press, 1994. Pp. 242. ISBN 0–262–02368–7. £24.95.Thomas Hobbes and the Science of Moral Virtue By David Boonin‐Vail, Cambridge University Press, 1994. Pp. 219. ISBN 0–521–46209–6. £37.50.Reason and Rhetoric in the Philosophy of Hobbes By Quentin Skinner, Cambridge University Press, 1996. Pp. 477. ISBN 0–521–55436–5. £35.00.Being and the Between By William Desmond, State (...) University of New York Press, 1995. Pp. 557. ISBN 0–7914–2271–2. $19.95.Perplexity and Ultimacy By William Desmond, State University of New York Press, 1995. Pp. 263. ISBN 0–7914–2387–5. $19.95.Evidence and Inquiry: Towards Reconstruction in Epistemology By Susan Haack, Blackwell Publishers, 1994. Pp. x + 259. ISBN 0–631–19679‐X/£14.99 (pbk).Kant's Intuitionalism: A Commentary on the Transcendental Aesthetic By Lorne Falkenstein, University of Toronto Press, 1996. Pp. xvii + 465. ISBN 0–8020–2973–6. $70.00.The Metaphysics of Free Will By John Martin Fischer, Blackwell, 1995. Pp. ix + 273. ISBN 1–55786–8573. £14.99.Identification Papers By Diana Fuss, Routledge, 1995. Pp. 179. ISBN 0–415–90886–8. $16.95.Rorty and Pragmatism: The Philosopher Responds to his Critics Edited by Herman J. Saatkamp, Jr., Vanderbilt University Press, 1995. ISBN 0–8265–1263–1 $24.95.Nietzsche's French Legacy: a Genealogy of Poststructuralism By Alan D. Schrift, Routledge, 1995. Pp. xviii + 198. ISBN 0–415–91146‐X. £40.00.Causal Cognition ‐ A Multidisciplinary Debate Edited by Dan Sperber, David Premack, and Ann James Premack, Clarendon Press, 1995. Pp. 670. ISBN 0–19–852314–9. £00.00. (shrink)

Bien que Caring for America ait fait l’objet de nombreuses recensions au moment de sa publication en 2012, ce n’est que maintenant, sept ans plus tard, que l’on peut saisir l’importance de son apport à la littérature sur le travail de care. Depuis une dizaine d’années, cette littérature s’étoffe, surtout dans les sciences sociales mais Caring for America s’en distingue par sa dimension historique. Eileen Boris et Jennifer Klein montrent que les caractéristiques associées par les chercheurs au...

Né d'un projet évoqué au Congrès international des Sciences historiques de Montréal (1995), paru à l'occasion du trentième anniversaire du Coordinating Committee on Women in the Historical Profession (CCWHP), cet ouvrage est constitué de vingt récits de vie qui mêlent le personnel, le politique et le professionnel. De Gerda Lerner (réfugiée juive, pionnière de l'histoire des femmes aux États-Unis) à Chrystal Feimster (jeune femme noire qui achève sa thèse à Princeton), toutes les femme...

In lieu of an abstract, here is a brief excerpt of the content:470 HISTORY OF PHILOSOPHY of fundamental notions (e.g.,"creator" and "demiurge") are omnipresent. Sometimes even a confusion happens of Anaxagoras with Democritus when the "atom" is ascribed to Anaxagoras (p. 48). And the author does not seem to feel the fatal inadequacy of merely second-hand knowledge. While he in longura et latum argues with Aristotelian presentations and misrepresentations of Anaxagorean tenets, there is good reason for the suspicion that he (...) might never have read even one authentic sentence written by Anaxagoras himself. For those interested in general cultural history, this book, the religious diatribe of a modem Zoroastrian believer, is very worthwhile reading. For the historian of philosophy, itis of rather modest value. P-~LIX M. CLEVE New School for Social Research New York City The Esthetics of the Middle Ages. By Edgar De Bruyne. Trans. Eileen B. Hennessy. (New York: Frederick Uugar, 1969. Pp. viii+232. $6.50) This book has a very complex character. It is the English translation of a French work, L'Esth~tique du moyen dge,I which, in turn, is a one-volume abridged version by Edgar De Bruyne of his own original three-volume work, I~tudes d'Esth~tique M~di~vale.2 Thus, one may evaluate this book either as a translation or, presupposing the faithfulness and correctness of the translation itself,as a relatively short work by E. De Bruyne, or else in its relation to or as compared with the original three-volume work. I will confine myself here to the lattertwo considerations.3 First, considering this book in comparison with the three-volume original work, one of the principal writings of De Bruyne and one of the most significant contemporary contributions to the history of medieval aesthetics, we can find both quantitative and qualitative differences between the original work and its abridged version. The quantitative difference is considerable. While the abridged work, at least in its English translation, is less than a quarter of a thousand pages in length, the original work includes altogether 1,224 pages 4 and is thus more than five times longer than thc translated abridged version of it. The qualitative or methodological difference is at least equally great. In the original work, each of the three volumes deals primarily with the various medieval authors of aesthetic works and doctrines in a chronological order.5 In contrast, the contents of the translated abridged version follow a topical arrangement with chronology playing only a subordinate role, if any at all, within Louvain. L'InstitutSupdrieur de Philosophic, 1947. Brugge: De Tempel, 1946. s I have had no access to the abridged French original. 9 Vol. I, xiv+370; II, x-{-420; III,x-F400. 9 VoL I: Boethius to Erigena; II. "L'l~poque Romane," from the Carolingian period to the schools of Chartres and St. Victor; and Ill:the thirteenthcentury, from St. Bernard to Duns Scotus. BOOK REVIEWS 471 each topic. The six chapters are entitled, "'The Sources," "The Fundamental Principles," "Various Esthetic Systems," "The Esthetic Experience," "Art," and "The Fine Arts." To this may be added a third difference that is the result of the first two differences. There is virtually neither any direct quotation from any author on any topic, nor a~y direct reference to texts in the works of medieval authors mentioned or discussed. While the quantitative difference in itself is understandable, since only a scholar specializing in this field would read over 1,200 pages on medieval aesthetics, and while the qualitative difference is perfectly justified in terms of an intelligent summary, the absence especially of direct references to discussed texts is, as will be shown below, deeply regxettable. So much for the relative consideration of this translated abridged work. Let us next consider the abridged work in itself in the form of a positive and a negative evaluation. Second, despite the relative brevity of the work, one finds this book extremely valuable both in terms of the quantity and the quality of the data it contains. As to quantity, De Bruyne manages to compress an enormous amount of information about medieval aesthetic thought into this book. The significance of this, to confine ourselves at this point only... (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

The aim of this article is to analyze how the Spanish newspapers covered an international event such as the Egyptian spring from 2011 to 2013. From the perspective of the representation of Arab-Islamic issues, this study carries out a quantitative content analysis on the four reference newspapers in Spain (ABC, El Mundo, El País, and La Vanguardia) to find out whether there was an Islamophobic or Islamophilic treatment during the Egyptian revolution. The results of the 3,045 articles analyzed show that (...) Spanish newspapers were remarkably interested in Egyptian events and that cultural discourses were not relevant in the coverage. However, it is necessary to specify these outcomes by newspaper, because each paper proposed its own take on the matter based on information provided by press agencies. (shrink)

The fifth poem in Horace's first book of Epistles takes the form of an invitation to Torquatus to attend a dinner which the poet is preparing for that evening, the eveof the Emperor's birthday. The fare will be simple but Horace will see to it that the furnishings, napkins, vessels and plates will be clean and bright and that the company and the seating-plan will be to Torquatus’ taste. Horace will get Butra and Septicius to be there, and Sabinus, too, (...) as long as he is not kept away by a prior dinner engagement or by a girl he'd rather spend the evening with. With Torquatus and Horace, that makes four or five diners, so that there is room for others before the triclinium is full, although there shouldn't be too many; or, as Horace puts it :locus est et pluribus umbris;sed nimis arta premunt olidae conuiuia caprae. (shrink)

Fichte’s Doctrine of Science of 1811 offers a sound model for explaining the conditions of semantics in its connection with the idea of freedom. Following Wolfram Hogrebe’s suggestion that the principle of contradiction works as an archaeological semantic postulate, i.e., is the implicit condition for any sentence to be meaningful, we argue that in Fichte’s definition of the phenomenon we find such a semantic postulate at a higher genetic level than the principle of contradiction indicated by Hogrebe. Moreover, the Doctrine (...) of Science of 1811 offers an analysis of the steps through which this phenomenon displays itself – i.e. Vermögen, als, Soll – which can be understood as the conditions for establishing a meaningful sentence. Fichtes Wissenschaftslehre 1811 kann uns einen soliden Modell zur Erklärung der Entstheung von Semantik anbieten. Mein Beitrag fangt mit der Darstellung Wolfram Hogrebes Hypothese an, dass der Satz vom Widerspruch als archäologisches Bedeutungspostulat fungiert, d.h. als implizite Bedingung der Möglichkeit jeglicher bedeutenden Äußerung. Ausgehend dieser Idee Hogrebes, hier schlage ich vor, dass man im Fichtes Begriffe der Erscheinung ein genetisch höheres archäologisches Bedeutungspostulat als der Satz vom Widerspruch finden kann. Daraufhin bietet die Wissenschaftslehre 1811 einen Einsicht in alle Schritte, wodurch die Erscheinung sich entfaltet – Vermögen, Durch, Als, Soll – die wir als die entsprechende Bedingungen für die Herstellung eines bedeutungsvollen Satzes verstehen können. (shrink)

The work of Michèle Le Dœuff creatively disrupts established notions of what philosophy might be. Far from being a discipline about the leader and the disciple, a hierarchy of knowledge and paternalism, Le Dœuff proposes a philosophy of dialogue and friendship. The conversations in this book explore how this philosophy can be enacted and explored, and show how openness and generosity can be the starting point of truly rigorous thinking. Introduced and curated by the late philosopher, Pamela Sue Anderson, In (...) Dialogue with Michèle Le Dœuff explores themes like contemporary feminism, joy in philosophy, memory, the significance of friendship to thinking and a key Le Dœuffian concept, the imaginary. Le Dœuff's interlocutors, including Penelope Deutscher, Elizabeth Fallaize and Meenda Dhanda, are some of the most significant thinkers in the fields of feminism and continental thought and provide insights and ways into considering philosophy as a profoundly dialogical exercise. (shrink)

The article of Shestopalets D.V. deals with the construction of theological discourse in the publications of the Spirituals Administration of Muslims of Ukraine. Special attention is devoted to the topics that represent the “proper” image of Islam, the problem of orthodoxy, approaches to interpretation of the Quran and legitimization of the religious authority of Muslim scholars.

Nicolau de Cusa é conhecido por suas teorias a respeito do conhecimento, principalmente por sua obra A douta ignorância. Nela e em outras, sempre dentro de uma visão medieval, vê-se que a.sabedoria cusana é uma tentativa de alcançar incansavelmente o inalcançável. Para tanto são de grande importância os símbolos matemáticos.

In the following article, I will try to describe and, thus, share with my readers those moments and those segments in my life that have allowed me to be involved in the experience of musical improvisation, which is comprised of the gestures, ideas, and emotions that, together, encompass the musical objects of improvisation, and the desire, the pleasure of sharing these objects in their shaping and creation.

A lower tendency to influence and be influenced by their social environment seems almost self-evident in autism. However, a closer look at differences and similarities between autistic and non-autistic individuals suggests that some basic mechanisms involved in social influence might be intact in autism, whereas atypical responses point to differences in more sophisticated recursive social strategies, such as reputation management.

Is reducing large-scale intergroup conflict the business of corporations? Although large corporations can use their power and prominence to reduce intergroup conflict in society, it is unclear to what extent stakeholders support corporate Intergroup Responsibility. Study 1 showed that support for CIR correlates in theoretically meaningful ways with relevant economic, social, and moral attitudes, including fair market ideology, consumer support for corporate social responsibility, social dominance orientation, symbolic racism, and moral foundations. Studies 2 and 3 employed experimental designs to test (...) the hypothesis that business leaders who advocate for intergroup tolerance boost perceptions of corporations and their leaders as moral, just, and fair, which in turn, increases stakeholders’ support for CIR. We found support for this hypothesis across two highly publicized and contentious events related to racial conflict in the U.S.: The White supremacy rally in Charlottesville and the federal government’s announcement about the planned rescinding of the Deferred Action for Childhood Arrivals immigration policy. Specifically, exposing participants to real-world tweets by CEOs who advocated intergroup tolerance following these events increased participants’ support for CIR. This effect was mediated by heightened perceptions of corporations and their leaders as moral, just, and fair. Taken together, these findings enhance our understanding of the factors that shape stakeholders’ reactions to CIR; highlight intergroup conflict as an emerging arena for CSR; and illustrate the power of ethical intergroup leadership. (shrink)

Study of concept of Brahman in Upanishads with special reference to the philosophy of Śāṇḍilya.