Modal propositional logic; Modal predicate logic; A survey of modal logic.

Since the dawn of Romanticism, artists and intellectuals in Germany have maintained an abiding interest in the gods and myths of antiquity while calling for a new mythology suitable to the modern age. In this study, George S. Williamson examines the factors that gave rise to this distinct and profound longing for myth. In doing so, he demonstrates the entanglement of aesthetic and philosophical ambitions in Germany with some of the major religious conflicts of the nineteenth century. Through readings (...) of key intellectuals ranging from Herder and Schelling to Wagner and Nietzsche, Williamson highlights three crucial factors in the emergence of the German engagement with myth: the tradition of Philhellenist neohumanism, a critique of contemporary aesthetic and public life as dominated by private interests, and a rejection of the Bible by many Protestant scholars as the product of a foreign, "Oriental" culture. According to Williamson, the discourse on myth in Germany remained bound up with problems of Protestant theology and confessional conflict through the nineteenth century and beyond. A compelling adventure in intellectual history, this study uncovers the foundations of Germany's fascination with myth and its enduring cultural legacy. (shrink)

In this paper, I respond to what is currently the most significant criticism of the principle fair play as a basis for political obligations. In a series of cases in which obligations appear to be established by fair play, important scholars contend that the moral principle at work is not fair play but a natural duty of justice to provide essential benefits to other people. Such natural duty accounts strikingly ignore requirements of reciprocity, to make appropriate return for benefits received. (...) In addition, careful examination of possible natural duty explanations of such cases indicates severe difficulties explaining exactly to whom the natural duties in question are owed and why they may require significant costs. (shrink)

ABSTRACT The list of proposed addictions has recently grown to include television, videogames, shopping, day trading, kleptomania, and use of the Internet. These activities share with a more established entry, gambling, the property that they require no delivery of a biological stimulus that might be thought to unlock a hardwired brain process. I propose a framework for analyzing that class of incentives that do not depend on the prediction of physically privileged environmental events: people have a great capacity to coin (...) endogenous reward; we learn to cultivate it, and, where it is entrapping, to minimize it, by managing internally generated appetites for it. The basic method of cultivating endogenous reward is to learn cues that predict when best to harvest the reward that has been made possible by the growth of these appetites. This hedonic management occurs in the same motivational marketplace as the instrumental planning that seeks environmental goods in the conventional manner, and presumably obeys the same laws of temporal difference learning; but these laws are no longer limiting. Furthermore, instrumental contingencies often provide the most productive structure for hedonic management as well, for reasons that I discuss; but the needs of hedonic management create incentives both to pursue instrumental goals in a suboptimal manner and to avoid noticing how the hedonic incentive affects this pursuit. The result is the apparent irrationality that is often observed in process addictions. (shrink)

American healthcare -- Bioterror and bioart -- State of emergency -- Licensed to torture -- Hunger strikes -- War -- Cancer -- Drug dealing -- Toxic tinkering -- Abortion -- Culture of death -- Patient safety -- Global health -- Statue of security -- Pandemic fear -- Bioidentifiers -- Genetic genocide.

This paper examines people's reasoning about identity continuity and its relation to previous research on how people value one-of-a-kind artifacts, such as artwork. We propose that judgments about the continuity of artworks are related to judgments about the continuity of individual persons because art objects are seen as physical extensions of their creators. We report a reanalysis of previous data and the results of two new empirical studies that test this hypothesis. The first study demonstrates that the mere categorization of (...) an object as “art” versus “a tool” changes people's intuitions about the persistence of those objects over time. In a second study, we examine some conditions that may lead artworks to be thought of as different from other artifacts. These observations inform both current understanding of what makes some objects one-of-a-kind as well as broader questions regarding how people intuitively think about the persistence of human agents. (shrink)

It is widely thought to be unfair to hold people responsible, or to blame or punish them, for wrongful acts or omissions that are beyond their control. Because this principle is often taken to support incompatibilism, and because it has led many to deny the possibility of moral luck, we might expect its normative underpinnings to have been carefully scrutinized. However, surprisingly, they have not. In the current paper, I will try to fill this gap by first reconstructing, and then (...) criticizing, what I take to be the principle’s most compelling rationale. Because I will argue that that rationale is irretrievably flawed, the thrust of my discussion will be to raise doubts both about the principle itself and about the philosophical theses that it is said to support. (shrink)

It is widely held in theories of narrative that all works of literary narrative fiction include a narrator who fictionally tells the story. However, it is also granted that the personal qualities of a narrator may be more or less radically effaced. Recently, philosophers and film theorists have debated whether movies similarly involve implicit audio-visual narrators. Those who answer affirmatively allow that these cinematic narrators will be radically effaced. Their opponents deny that audio-visual narrators figure in the ontology of movies (...) at all, and many have argued that the ‘effaced’ literary narrator is an illusion as well. In this paper, I attempt to sort out the central issues that arise in these debates, defending the existence of effaced narrators in both literature and film. (shrink)

For fifty years, Willard Van Orman Quine's books and articles have stimulated intense debate in the fields of logic and the philosophy of language. Many scholars in fact, regard Quine as the greatest living English-speaking philosopher; yet his views remain widely misunderstood and misinterpreted. This book provides the first major explication and defense of Quine's systematic philosophy and is ideally suited for use as a required or supplementary text in a wide variety of undergraduate and graduate courses in philosophy and (...) linguistics.The book explores the far-reaching implications of Quine's views on language for contemporary analytic philosophy. It is unique in providing a lucid and rich description and reconstruction of the historical context from which Quine's work grew, focusing in particular on the role that Russell and Wittgenstein played in shaping the problems inherited by Quine. It presents Quine's difficult later views in an accessible fashion, bringing out as no other study has the very radical nature of his position. One of the book's highlights is its careful examination and assessment of Tarski's theory of truth as it relates to the traditions of Russell and Wittgenstein and to Quine's own philosophy.George D. Romanos took his Ph.D. in philosophy under George D. W. Berry and Paul T. Sagal at Boston University. This book grew out of his dissertation with the active criticism and support of Quine himself. (shrink)

Philosophical (p-) zombies are constructs that possess all of the behavioral features and responses of a sentient human being, yet are not conscious. P-zombies are intimately linked to the hard problem of consciousness and have been invoked as arguments against physicalist approaches. But what if we were to invert the characteristics of p-zombies? Such an inverse (i-) zombie would possess all of the behavioral features and responses of an insensate being yet would nonetheless be conscious. While p-zombies are logically possible (...) but naturally improbable, an approximation of i-zombies actually exists: individuals experiencing what is referred to as “anesthesia awareness.” Patients under general anesthesia may be intubated (preventing speech), paralyzed (preventing movement), and narcotized (minimizing response to nociceptive stimuli). Thus, they appear—and typically are—unconscious. In 1-2 cases/1000, however, patients may be aware of intraoperative events, sometimes without any objective indices. Furthermore, a much higher percentage of patients (22% in a recent study) may have the subjective experience of dreaming during general anesthesia. P-zombies confront us with the hard problem of consciousness—how do we explain the presence of qualia? I-zombies present a more practical problem—how do we detect the presence of qualia? The current investigation compares p-zombies to i-zombies and explores the “hard problem” of unconsciousness with a focus on anesthesia awareness. (shrink)

"Those who think they know George Dickie's views should be sure to read this book. They are in for some interesting surprises. Of course, those unfamiliar with Dickie's views will also learn a lot." --Anita Silvers, San Francisco State University In this book George Dickie presents a theory about how to judge a work of art--as opposed to a theory that explains why a particular work is defined as art. Focusing mainly on the writings of Monroe Beardsley and (...) critically examining the views of seven other philosophers and art critics--Paul Ziff, Frank Sibley, Nelson Goodman, Nicholas Wolterstorff, David Hume, Bruce Vermazen, and J. O. Urmson--Dickie synthesizes their insights to discover what can be derived from their theories. On this basis, he attempts to work out a theory of art evaluation--the first such book on this topic by a contemporary philosopher. Initially, the author outlines all possible theories of art evaluation, assuming that traditional evaluative notions are used. He identifies seven theory-types that fall under four general headings: imitation value theory, objective intrinsic value theories, subjective intrinsic value theory, and instrumental value theories. Dickie then discusses the historical development of the theory of art evaluation, examining the ways in which eighteenth- and nineteenth-century philosophers treated representation and other cognitive dimensions of art as artistic values. His thorough analysis of the work of other contemporary theorists argues for a theory of art evaluation derived from various strands of thought. (shrink)

George Grant's magnificent four-part meditation sums up much that is central to his own thought, including a critique of modern liberalism, an analysis of John Rawls's Theory of Justice, and insights into the larger Western philosophical ...

Both moral and legal theory feature prominent talk about rights. Yet there is very little agreement about what rights are, about why we use rights in our moral or legal theories, or about what to do when there is a conflict between rights. This article surveys many of the popular theory for analysing rights and explaining their scope.

Courts usually treat control over human bodies and body parts as a property issue and find that people do not have property rights in themselves. This contradicts the liberal philosophical principle that people should be able to perform any self-regarding actions that do not cause harm to others. The philosophical inconsistencies under pinning the legal treatment of body parts arguably stem from a misplaced judicial preoccupation with‘ property ’. A better approach would be to hold a policy inquiry into the (...) degree of liberty a society wishes to grant its inhabitants. Only once this substantive issue has been addressed should property be raised as a possible method of implementing the policy. (shrink)

(a review of “I Am a Strange Loop,” by Douglas Hofstadter), Scientific American, March 2007.

Science is at a cross-roads. For several decades, the Standard Model of particle physics has managed to fit vast amounts of particle scattering data remarkably well, but many questions remain. During those decades, some sophisticated theoretical hypotheses such as string theory, quantum gravity, and quantum cosmology have been proposed and studied intensively, in an effort to break the log-jam of the Standard Model. None of those hypotheses have succeeded to date. Of greater concern is the increasing tendency by some practitioners (...) in those fields to downplay the empirical principles of science. In response, this book is a restatement of those principles, covering numerous aspects of observation. A particular focus is on contextuality versus realism, the two fundamentally contrasting ideologies that underpin modern physics. (shrink)

The British have often denied the very existence of a tradition of English literary theory. George Watson redeems that denial in his latest book, the first study of 20th Century English theory. The book begins with Yeats, Pound and Eliot, who made England their home. In subsequent chapters, based on personal recollection as well as published sources, it assesses the contribution of I.A. Richards, William Empson, F.R. Leavis, C.S. Lewis, Isaiah Berlin and Wittgenstein, as well as Marxists like E.P. (...) Thompson and Raymond Williams. English literary theory is a tradition that has suffered in reputation, paradoxically, by the sheer fertility of its invention. In this seminal work the author celebrates that fertility from the First World War downto the death of Iris Murdoch in 1999, showing that England pioneered the academic study of theories of literature years in advance of France or the USA. (shrink)