This book charts and challenges the bruising impact of post-Saussurean thought on the categories of experience and self-presence. It attempts a reappropriation of the category of lived experience in dialogue with poststructuralist thinking. Following the insight that mediated subjectivity need not mean alienated selfhood, Meredith forwards a postmetaphysical model of the experiential based on the interpenetration of poststructuralist thinking and hermeneutic phenomenology. Since poststructuralist approaches in feminist theory have often placed women's lived experiences "under erasure," Meredith uses this (...) hermeneutic/deconstructive model to attempt a rehabilitation of the singular "flesh and blood" female existent. (shrink)

This secondary analysis re‐examined stories of caregiving told by NICU nurses in the southeast US through a trauma theory lens expanding on research surrounding substance‐exposed pregnancies. Narrative analysis identified distress‐related experiences of nurses related to child custody decisions and outcomes, suggesting traumatic stress within this caregiving dynamic. Four distinct story types and three themes were identified across 23 stories, highlighting similarities and differences and illustrating how distress and trauma were experienced and may be manifested in care practices. Study findings suggest (...) cumulative and residual effects from traumatic experiences can impact NICU nurses' well‐being and care provision, in part by promoting anticipatory trauma. The role of relationship‐building with families, as part of family‐centered care, was also implicated in the intensity of distressful experiences and may increase nurses' vulnerability to trauma as well as create pathways to stigmatizing interactions. Incorporating principles of relational ethics into nurse practice guidelines, while recognizing how care work can influence and be influenced by the potential pathways from trauma to stigma, may provide valuable support for nurses. The application of such a framework could potentially reduce distressing and/or traumatic experiences for nurses caring for families with a substance‐exposed pregnancy. (shrink)

These fifteen essays on Nietzsche's indebtedness to the Classical Tradition were composed by scholars in the fields of philosophy, theology, German and Classics. The essays roughly cover the following epochs: the age of the Fathers of the Western Church, medieval scholasticism, the Renaissance, the Enlightenment, Weimar Classicism, Romanticism and the several other intellectual trends and movements in the nineteenth century. Collection includes three essays comparing Nietzsche's perceptions of Plato, Aristotle, and Socrates with those (respectively) of Augustine, Aquinas, and Hamann. Three (...) essays treat Nietzsche's relationship to Goethe, Schiller, and Heine. Three deal with Nietzsche and French literature or thought, one explores possible parallels between Nietzsche and Dante, another the extent of his debt to Byron. Four contributions center on Nietzsche's view of tragedy, and an older study has been expanded to show the underlying harmony of Nietzsche's conception with that of the French classical tragedians. This book affirms and fulfills the need for serious scholarship by the student of Nietzsche unable to work in German, while presenting a readable cross-section of the work being done relating Nietzsche to the intellectual tradition from which he sprang. (shrink)

This collection of essays is a sequel to the editors' 1976 volume Studies in Nietzsche and the Classical Tradition. Philosophers, theologians, and literary historians discuss important aspects of Nietzsche's attack on Judaism and Christianity. The book contains studies of his view of biblical figures, Luther and Pascal as well as comparisons of his thought with that of Spinoza, Lessing, Heine, and Kierkegaard. Nietzsche's critique of the Old Testament, the Jewish religion of the diaspora, and historical Christianity are also investigated. Of (...) the eighteen articles included here, thirteen were prepared expressly for this volume--five were translated from German, one from French, and one from Hebrew. Contributors to this volume are: Eugen Biser, Harry Neumann, Israel Eldad, Charles Lewis, Jorg Salaquarda, Joan Stambaugh, Max L. Baeumer, Brendan Donellan, Diana Behler, Sander L. Gilman, Gerd-Gunther Grau, Josef Simon, James C. O'Flaherty, Bernd Magnus, Georges Goedert, Hans Lung, and Karl Barth. (shrink)

Objective Although patients exercise greater autonomy than in the past, and shared decision making is promoted as the preferred model for doctor-patient engagement, tensions still exist in clinical practice about the primary locus of decision-making authority for complex, scarce, and resource-intensive medical therapies: patients and their surrogates, or physicians. We assessed physicians’ attitudes toward decisional authority for adult venoarterial extracorporeal membrane oxygenation (VA-ECMO), hypothesizing they would favor a medical locus. Design, Setting, Participants A survey of resident/fellow physicians and internal medicine (...) attendings at an academic medical center, May to August 2013. Measurements We used a 24-item, internet-based survey assessing physician-respondents’ demographic characteristics, knowledge, and attitudes regarding decisional authority for adult VA-ECMO. Qualitative narratives were also collected. Main Results A total of 179 physicians completed the survey (15 percent response rate); 48 percent attendings and 52 percent residents/ fellows. Only 32 percent of the respondents indicated that a surrogate’s consent should be required to discontinue VA-ECMO; 56 percent felt that physicians should have the right to discontinue VA-ECMO over a surrogate’s objection. Those who self-reported as “knowledgeable” about VA-ECMO, compared to those who did not, more frequently replied that there should not be presumed consent for VA-ECMO (47.6 percent versus 33.3 percent, p = 0.007), that physicians should have the right to discontinue VAECMO over a surrogate’s objection (76.2 percent versus 50 percent, p = 0.02) and that, given its cost, the use of VA-ECMO should be restricted (81.0 percent versus 54.4 percent, p = 0.005). Conclusions Surveyed physicians, especially those who self-reported as knowledgeable about VA-ECMO and/or were specialists in pulmonary/ critical care, favored a medical locus of decisional authority for VA-ECMO. VA-ECMO is complex, and the data may (1) reflect physicians’ hesitance to cede authority to presumably less knowledgeable patients and surrogates, (2) stem from a stewardship of resources perspective, and/or (3) point to practical efforts to avoid futility and utility disputes. Whether these results indicate a more widespread reversion to paternalism or a more circumscribed usurping of decisional authority occasioned by VA-ECMO necessitates further study. (shrink)

Book review in this Article The Ethos of the Bible. By Birger Gerhardsson. The Prophets, Vol. 1: The Assyrian Period. By Klaus Koch. The Gospel according to Saint John, Vol. 3. By Rudolf Schnackenburg. The Social Setting of Pauline Christianity. By Gerd Theissen. Jewish and Christian Self‐Definition, Vol. 3: Self‐Definition in the Craeco‐Roman World. Edited by Ben F. Meyer and E.P. Sanders. The Church and Healing. Edited by W.J. Sheils. Miracles and the Medieval Mind: Theory, Record and Event, 1000 to (...) 1215. By Benedicta Ward. The Luminous Vision; Six Medieval Mystics and their Teaching. By Anne Bancroft. Astrology in the Renaissance: The Zodiac of Life. By Eugenio Garin. Lay Culture, Learned Culture: Books and Social Change in Strasbourg 1480–1599. By M.U. Umgang mil Luther. By Gerhard Ebeling. The Reformation and the English People. By J.J. Scarisbrick. Between Orthodoxy and Enlightenment: Jean‐Robert Chouet and the Introduction of Cartesian Science in the Academy of Geneva. By Michael Heyd. Richard Crashaw and the Spanish Golden Age. By R.V. Young. The Problem of Unbelief in the Sixteenth Century: The Religion of Rabelais. By Lucien Febvre, translated by Beatrice Gottlieb. History of Christianity in India, Vol. II: From the Middle of the 16th to the End of the 17th Century. By Joseph Thekkedath. The Vatican and the American Hierarchy from 1870 to 1965. By Gerald P. Fogarty. Nationalism, Positivism and Catholicism: The Politics of Charles Maurras and French Catholics 1890–1914. By Michael Sutton. George Tyrrell and the Catholic Tradition. By Ellen Leonard. The Testing of the Churches 1932–1982: A Symposium. Edited by Rupert Davies. The Old Protestantism and the New: Essays on the Reformation Heritage. By B.A. Gerrish. An Introduction to Protestant Theology. By Helmut Gollwitzer. Dialogues on Morality and Religion. By Jakob Friedrich Fries. American Catholic Social Ethics: Twentieth‐Century Approaches. By Charles E. Curran. Ethical Issues in Reproductive Medicine. Edited by Maurice Reidy. Michel Foucault: Social Theory as Transgression. By Charles C. Lemert and Garth Gillan. Last Writingson the Philosophy of Psychology. Vol. I. By Ludwig Wittgenstein. Liberalism and the Limits of Justice. By Michael J. Sandel. Free Speech: A Philosophical Enquiry. By Frederick Schauer. Orality and Literacy: The Technologizing of the Word. By Walter J. Ong. Bwiti: An Ethnography of the Religious Imagination in Africa. By James W. Fernandez. Selfless Persons. By Steven Collins. Understanding Jewish Mysticism: A Source Reader Edited by David R. Blumenthal. The Epistle on the Possibility of Conjunction with the Active Intellect, by Ibn Rushd, with the Commentary of Moses Narboni. Edited and translated by Kalman P. Bland. (shrink)

TWENTY QUESTIONS, one of the best selling introduction to philosophy anthologies available today, presents a proven, well-acclaimed forum for introducing students to the rich variety of philosophical reflection. Animated by some of philosophy's more concrete questions--questions that students are likely to have pondered long before signing up for their first philosophy classes--TWENTY QUESTIONS fosters the creative exploration of many renowned classical and contemporary thinkers' responses to the very same questions.

This paper reports on an ongoing ARC Discovery Project that is conducting design research into learning in collaborative virtual worlds (CVW).The paper will describe three design components of the project: (a) pedagogical design, (b)technical and graphics design, and (c) learning research design. The perspectives of each design team will be discussed and how the three teams worked together to produce the CVW. The development of productive failure learning activities for the CVW will be discussed and there will be an interactive (...) demonstration of the project's CVW. (shrink)

Preface.--1. The general nature of reality.--2. The problems of theism.--3. Free will.--4. The problem of good.--5. The ethics of the gospels.--6. The ethics of Nietzsche.--7. The optimism of Browning and Meredith.

Opéra en trois parties, Atlas, de Meredith Monk, a été donné au début des années 1990 à Paris, au théâtre de l'Odéon. C'est l'un des plus grands souvenirs de musique de ma vie. A cette époque, je ne connaissais pas grande chose à la musique dite contemporaine, j'y suis allé un peu par hasard, sans aucune idée préconçue ni a priori et j'en suis sorti complètement émerveillé. Atlas fait partie depuis vingt ans de mes CD favoris, que je me (...) passe et repasse avec un bonheur jamais démenti. Inspiré par la vie – hors (...) - Musique et Musicologie – GALERIE – Nouvel article. (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)

Condensed detachment is usually regarded as a notation, and defined by example. In this paper it is regarded as a rule of inference, and rigorously defined with the help of the Unification Theorem of J. A. Robinson. Historically, however, the invention of condensed detachment by C. A. Meredith preceded Robinson's studies of unification. It is argued that Meredith's ideas deserve recognition in the history of unification, and the possibility that Meredith was influenced, through ukasiewicz, by ideas of (...) Tarski going back at least to 1939, and possibly to 1930 or earlier, is discussed. It is proved that a term is derivable by substitution and ordinary detachment from given axioms if and only if it is a substitution instance of a term which is derivable from these axioms by condensed detachment, and it is shown how this theorem enables the ideas of ukasiewicz and Tarski mentioned above to be formalized and extended. Finally, it is shown how condensed detachment may be subsumed within the resolution principle of J. A. Robinson, and several computer studies of particular Hilbert-type propositional calculi using programs based on condensed detachment or on resolution are briefly discussed. (shrink)

The following logics are the most noteworthy from the perspective of the calculus of combinators: the Hilbert’s positive implicational logic , the Church’s weak theory of implication , the BCK-logic, and the BCI-logic. Their significance is due to a certain correspondence between combinators and implicational formulas . The first three logics mentioned have been immensely investigated but it was not so in case of the remaining one. The BCI-logics was mentioned by A. N. Prior in the second edition of his (...) Formal Logic of 1962 where it was credited to C. A. Meredith and dated in 1956 . A. (shrink)

Arthur Norman Prior (1914-69) was a logician and philosopher from New Zealand who contributed crucially to the development of ‘non-standard’ logics, especially of the modal variety. His greatest achievement was the invention of modern temporal logic, worked out in close connection with modal logic. However, his work in logic had a much broader scope. He was also the founder of hybrid logic, and he made important contributions to deontic logic, modal logic, the theory of quantification, the nature of propositions and (...) the history of logic. In addition, he discussed questions of ethics, free will, and general theology. Prior’s philosophical works comprise about 200 titles. His earliest articles center on philosophical theology and historical studies of Scottish Reformed Theology. This led on to the publication of his first influential work on ethics: Logic and The Basis of Ethics (1949). With the invention of tense-logic in the early 1950s, his focus shifted to investigations into the syntax of tempo-modal logic leading to his seminal Time and Modality (1957), a volume derived from his John Locke Lectures in Oxford in 1956. Furthermore Prior, together with the Irish mathematician and logician C.A. Meredith (1904-76), made important early contributions to the semantics of possible worlds. Prior’s tense-logic provided a strong conceptual framework for problems pertaining to the philosophy of time. In Time and Modality, Prior discussed the philosophical implications of Ruth Barcan’s famous formulae for tense-logic, and in the 1960s he worked on the notion of the present. The most persistent problem running through Prior’s work is his study of the questions surrounding human freedom and divine foreknowledge, and more general philosophical problems emerging from this classical theological question. His thorough analysis of this problem, with the conceptual tools of tense-logic, received a crucial impetus from his correspondence with the young Saul Kripke, when the latter suggested the semantic tool of branching time to Prior. Prior’s development of two solutions based on branching time for the problem of future contingency, the Peircean and the Ockham solution, was most thoroughly developed in Past, Present and Future (1967), the most important work published by Prior. Characteristically for Prior’s methodological approach, the development of these two solutions were at the same time a development of two new systems of tense logic, and vice versa. One of Prior’s significant contributions to logic was his work on world propositions and instant propositions. In the course of developing these notions he also made one of the earliest formulations of hybrid logic. In Papers on Time and Tense (1968), he presented this idea in a more detailed manner in the context of his four grades of tense-logical involvement. (shrink)

The purpose of this paper is to show through the concrete example of epileptic seizure anticipation how neuro-dynamic analysis and “pheno-dynamic” analysis may guide and determine each other. We will show that this dynamic approach to epileptic seizure makes it possible to consolidate the foundations of a cognitive non pharmacological therapy of epilepsy. We will also show through this example how the neuro-phenomenological co-determination could shed new light on the difficult problem of the “gap” which separates subjective experience from neurophysiological (...) activity. (shrink)