A common narrative among some behavioural economists and policy makers is that experimental psychology highlights that individuals are more like Homer Simpson than the Mr Spock imagined by neoclassical economics, and that this justifies policies aiming to ‘correct’ individual behaviours. This narrative is central to nudging policies and suggests that a better understanding of individual cognition will lead to better policy prescriptions. I argue that this Homer economicus narrative is methodologically flawed, and that its emphasis on (...) cognition advances a distorted view of public policies consisting in fixing malfunctioning individuals, while ignoring the characteristics of the socio-economic environment that influence individuals’ behaviours. (shrink)

Note: The Simpson's, television's popular prime-time cartoon known for its satirical commentary on various social issues, recently took a shot at the creation-evolution debate by featuring Stephen Jay Gould prominently in one of its episodes. Here is Bill Dembski's review and observations of that episode.

This unconventional and lighthearted introduction to the ideas of the major Western philosophers examines The Simpsons — TV’s favorite animated family. The authors look beyond the jokes, the crudeness, the attacks on society — and see a clever display of irony, social criticism, and philosophical thought. The writers begin with an examination of the characters. Does Homer actually display Aristotle’s virtues of character? In what way does Bart exemplify American pragmatism? The book also examines the ethics and themes of (...) the show, and concludes with discussions of how the series reflects the work of Aristotle, Marx, Camus, Sartre, and other thinkers. (shrink)

Here we can find out about irony and the meaning of life, the politics of the nuclear family, Marxism in Springfield, the elusiveness of happiness, popular parody as a form of tribute, and why we need animated TV shows. As if all that weren't enough, this book actually contains the worst philosophy essay ever.

Most contemporary models and tests for mental competence do not make adequate provision for the positive influence of emotion in the determination of competence. This most likely is due to a reliance on an outdated view of emotion according to which these models are essentially noncognitive. Leading developments in modern emotion theory indicate that this noncognitive theory of emotion is no longer tenable. Emotions, in fact, are essentially representational in a manner that makes them “cognitive” in an important sense. This (...) requires a reassessment of the place of emotion in the theory of mental competence. Building on Benjamin Freedman’s “recognizable reasons” account of competence, it will be argued that (1) emotions form a class of recognizable reasons of their own, and (2) that competence to consent is a matter of practical, rather than theoretical, reasoning. Emotions, then, are an essential ingredient in mental competence, and the cognitive bias that permeates the theory of mental competence today must be rejected. (shrink)

This work on the theory of education was first published in 1839. The five writers had been chosen as the winners in a competition for an essay on the 'Expediency and Means of Elevating the Profession of the Educator in Society', organised by the Central Society of Education, founded in 1837 to promote state funding of education, at a time when the 'monitor' system, whereby older children taught younger ones, was seen as an effective method. The journalist John Lalor won (...) first prize with a wide-ranging consideration of all the aspects of education, comparing the status of teachers through history and across several countries, and championing their 'sacred mission'. The runners-up were the writer John A. Heraud, the Unitarian minister Edward Higginson, the lawyer and author James Simpson, and Mrs Sarah Porter, prolific writer on education and sister of the political economist David Ricardo. (shrink)

Leave it to the boob tube to explain the meaning of existence. Let Gilligan's Island teach you about situational ethics. Learn about epistemology from The Brady Bunch. Explore Aristotle's Poetics by watching 24. Television has grappled with a wide range of philosophical conundrums. According to the networks, it's the ultimate source of all knowledge in the universe. So why not look at the small screen for answers to all of humanity's dilemmas? There's not a single issue discussed by the great (...) thinkers of the past that hasn't been hashed out between commercials in shows like Mad Men and Leave It To Beaver..."--P. [4] of cover. (shrink)

Terminally ill in 1776, Hume was relieved from anxieties over Smith's masterwork when it finally reached him on 1 April, and he gave it unstinted praise, though not without offering cogent criticism. The two‐part structure of WN is discussed in context. Books I and II are analytical and identify the principles, chiefly division of labour, which naturally lead to economic growth where the free‐market system, or something close to it, is adopted. Books III to V are historical and evaluative, focused (...) on what legislators, to whom the book is addressed, have done and should do to promote growth. This second part of WN assesses alternatives to the free‐market system, denouncing mercantilism's injudicious restraints and incentives, and Physiocracy's blindness to the benefits of industry and trade. Smith settles for some restrictions on individual economic freedom, to provide resources for society's chief needs identified as defence, justice, public works, and education, and he manifests grave concern about the mental torpor found in workers subjected to extensive division of labour. (shrink)

The apology to the reader -- The corpus chair and oxford jurisprudence as evolved by 1952 -- The gladsome light of philosophical jurisprudence -- The elusive sources of Hart's ideas in The Concept of Law -- Cyclops, hedgehogs, and foxes -- Where Homer nodded? -- Judging a pioneer.

Of all the crew to serve on a starship Enterprise, none has had such a convoluted line of existence as the venerable Mr. Spock. This chapter explores what the various incarnations of Mr. Spock can tell us about the nature of reality, existence, and personal identity. Lewis argues for the metaphysical theory of modal realism: all possible worlds are as real as the actual world. In science fiction parlance, this philosophical concept of world is more often called a (...) universe. Thus, Earth and Vulcan are both part of the same world depicted in Star Trek. The central question Lewis addresses is whether our world is the only real world, or whether other possible worlds could also be considered real. Lewis argues for the metaphysical theory of modal realism, all possible worlds are as real as the actual world. (shrink)

It has been suggested that Gene Roddenberry, the creator of the original Star Trek series (TOS), more or less consciously built the equivalent of a philosophical argument in favor of Stoic philosophy by centering his story lines on the interacting and exquisitely complementary characters of Mr. Spock, Captain Kirk, and Doctor McCoy. Spock in particular was apparently purposefully meant by Roddenberry to represent Stoicism as he understood it. Modern practitioners of Stoicism, however, tend to see Spock as (...) a “stoic” (lower-s) in the vernacular sense of the term: going through life constantly sporting a stiff upper lip and suppressing his emotions. I argue in this chapter that, on the contrary, the evolution of Spock from the young officer serving on the Enterprise NCC-1701 to ambassador to the Romulans in the last movie based on TOS can be understood as the story of someone entering the path to sagehood in the Stoic sense. And yes, Stoicism definitely is about far more than stiff lips and the suppression of emotions. (shrink)

An aspect of Pisistratus, which has not hitherto been utilized in this question , appears to justify another presentment of the evidence which connects him with the Homeric tradition. I shall endeavour to be brief and not to repeat what is common property or irrelevant. The literature and the bearing of the controversy are given with his usual clearness by P. Cauer, Grundfragen der Homerkritik,2 pp. 125 sqq. Cauer's private doctrine, that Homer was for the first time written down (...) by Pisistratus, I consider sufficiently refuted by C. Rothe, Die Was als Dichtung, pp. 5–13. Fantastic views lately promulgated in England are1 dealt with conclusively to my mind by Mr. A. Lang, The World of Homer, pp. 281 sqq., to whose account nothing for controversial purposes need be added. On looking back over the literature I find myself most in agreement with Hans Flach, whose treatise, Die litterarische Thdtigkeit des Peisistratos, 1885, has been unduly depreciated. I shall have to repeat my own views expressed in the Classical Review, 1901, p. 7; 1907, p. 18; and in the Classical Quarterly, 1909, p. 84. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Greek Athletics and the Olympics by Alan Beale, and: Thinking the Olympics: The Classical Tradition and the Modern Games ed. by Barbara Goff, Michael SimpsonJacques A. BrombergAlan Beale. Greek Athletics and the Olympics. Greece & Rome: Texts and Contexts. Cambridge: Cambridge University Press, 2011. iv + 196 pp. Numerous color figs. Paper, $26.Barbara Goff and Michael Simpson, eds. Thinking the Olympics: The Classical Tradition and the Modern (...) Games. London: Bristol Classical Press, 2011. xi + 227 pp. 23 black-and-white figs. Paper, $40.The quadrennial cycle of modern Olympiads has always assured a steady interest in the history of ancient athletics, as participants of all kinds (athletes, officials, and spectators alike) are reminded of the Games’ debts to the ancient Greeks. With the proliferation of undergraduate courses in Classical athletics, sports, and festivals in recent years, however, a growing number of undergraduates are also getting their first glimpses of Greco-Roman antiquity through the stadium door and quickly discovering how different the modern Olympics are from the ancient. The persistent conservatism of the modern Olympics thus presents instructors of undergraduate surveys with the challenge of introducing the festival to an audience that has come to accept the modern as a continuation of the ancient. In two popular histories of the Olympics, for instance, both published in 2004, one may contrast Nigel Spivey’s (The Ancient Olympics [Oxford 2004]: xix) proposed “journey to the strangeness” of Olympia with David Young’s claim (A Brief History of the Olympic Games [Malden, Mass. 2004]: 140) that “our Olympic Games are not so much a revival of the ancient Greek games as a genuine continuation of them.” Although intended for different audiences, the titles under review share the goal of de-familiarizing the Olympics both by emphasizing differences between ancient and modern athletics and by illuminating how an idealized, ancient Greek model has been used to establish and perpetuate the modern Games.There is no shortage of sourcebooks and histories of ancient athletics: Steven G. Miller, Arete: Greek Sports from Ancient Sources (Berkeley, Calif. 2004); Rachel Sargent Robinson, Sources for the History of Greek Athletics (Chicago, Ill. 1955); Waldo E. Sweet, Sport and Recreation in Ancient Greece: A Sourcebook with Translations (Oxford 1987); and William Blake Tyrell, The Smell of Sweat: Greek Athletics, Olympics, and Culture (Wauconda, Ill. 2004), who includes on a companion CD a wider assortment of sources than any printed edition. In keeping with the goals of Cambridge’s Greece and Rome: Texts and Contexts series, Alan Beale’s Greek Athletics and the Olympics offers a combination of texts and illustrations. One need only consider the nature of the evidence to understand [End Page 703] why this approach is not simply valuable, but obligatory: the literary sources are often fragmentary, belated, or anecdotal (or all three), and the material evidence requires detailed and careful exegesis. The challenge of the evidence is compounded by the instinct to read into the modern Olympics continuity rather than innovation. Beale sets out to overcome the “superficial similarities” and re-mystify ancient athletics as something “substantially different from anything in the modern world” (1). In his brief introductions to each source or object, Beale provides the cultural framework into which students may situate texts and images, and he offers questions (many contrasting ancient with modern) aimed at stirring curiosity and facilitating discussion.The opening chapters treat athletics in the Bronze Age and the Homeric epics (chap. 1), outline the ritual origins and growth of competitive athletics at Olympia (chap. 2), and trace the development of the sanctuary and the festival site (chap. 3). Beale is cautious with the examples of Minoan and Mycenaean art (9–12) and quotes generously from both the Iliad (13–19) and Odyssey (19–22), allowing room to observe discrepancies with later athletic practice. Like Robinson (34–35), he supplements Pausanias and Strabo on the first competitions at Olympia with a sample from Pindar, Olympian 10.24–77 (25–26), and instructors who wish to discuss this early history will not find better treatments of these passages elsewhere. Chapter 3 presents the site at Olympia and the administration of the festival, and Beale is to be commended for his... (shrink)

What does The Simpsons have to say about this issue? Most likely, absolutely nothing. The Simpsons is a fine television show, but it’s not where to look for innovative ideas in cognitive neuroscience or the philosophy of mind. We think, however, that it can help give us insight into a related, and extremely important, issue. We might learn through this show something about common-sense metaphysics, about how people naturally think about consciousness, the brain and the soul.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.4 (2003) 353-355 [Access article in PDF] Emotions and Narrative Selves Valerie Gray Hardcastle In their commentaries, both Phillips (2003) and Woody (2003) agree that the affective side of personhood needs to be better addressed in narrative views of self. In their arguments, they focus mainly on how a patient or a subject is here and now. In contrast, Kennett and Matthews (2003) take a (...) longer view and argue for the importance of a diachronic unity for selfhood. This commentary seeks to integrate these views by discussing how emotions are central to building our personal sense of unified agency. 1Phillips and Woody are right: most philosophical discussions of the narrative view of self are overly cognitive and focus too much attention on our linguistic story-telling abilities and not enough on what it is like to be a person experiencing the world. This is too bad, for it is our affective reactions that drive our personal life narratives. Consider: of all the experiences in the world, we only chose a small subset to become or represent who we are. I regularly eat cold cereal for breakfast before heading off to work, but if you ask me to describe myself, I describe my work or my children, not my breakfast-eating habits. Why is this? I identify with my work, my family life, or my play, but not with my sleeping patterns, the trajectories I chose when I drive, or how I brush my teeth. How is it that I have selected the former activities to highlight in my self-stories, but not the latter?I maintain that I choose the former because I have strong affective ties to them, ties that I do not have to driving routes or personal hygiene. And these ties are what determine what gets into our narratives of self. Actually, my claim is stronger than that. I believe that our emotions not only color what we do but they also allow us to act in the first place (this discussion is greatly expanded in my forthcoming book).Humans delight in pretending that our most prized and most humanly attribute is our forebrain, which houses, we also pretend, our capacity for rational thought. Since Plato at least we have held that subduing our passions to the iron rule of reason is our supreme aspiration; it is the ideal for human cognition. Ironically, we think that the more we are like Star Trek's alien Mr. Spock, the more human we really are.But what would life really be like with an overdeveloped forebrain and without emotion? Let us consider more carefully what it is we really prize about being human. We can rationalize well, it is true, but we do so in the service of personal goals. As Aristotle reminds us, we have practical rationality; we have means-ends reasoning with a point. This is just another way of saying that it is imperative that we identify what is important to us prior to cognizing.Obviously, one might scoff, we need an end to engage in means-ends reasoning. But often, I think, what having an end entails is not well appreciated. These days it is fashionable to believe that our fundamental ends—survival and reproduction—are set by our biology and that all [End Page 353] other ends (or most other ends) derive from them in some fashion. Maybe this story is true, but it obscures how ends—whether they be hardwired in or they come later—function in the human psyche.At a bare minimum, that we have particular ends tells us that we have to tag our abstractions, interpretations, and matched patterns with valances—some things are good, some things are bad, and some are indifferent. Tagging our experiences thus is just what it means to have emotions; we are reacting affectively to our world around us. And it is these reactions that determine which inputs we respond to and which we ignore. We literally cannot move about in our world without emotion. I think, perhaps, that this fact is what Phillips and Woody are... (shrink)

Hit the lights and jump in the fire, you’re about to enter the School of Rock! Today’s lecture will be a crash course in brain surgery. This hard and fast lesson is taught by instructors who graduated from the old school—they actually paid $5.98 for _The $5.98 EP_. But back before these philosophy professors cut their hair, they were lieutenants in the Metal Militia. A provocative study of the ‘thinking man’s’ metal band Maps out the connections between Aristotle, Nietzsche, Marx, (...) Kierkegaard, and Metallica, to demonstrate the band’s philosophical significance Uses themes in Metallica’s work to illuminate topics such as freedom, truth, identity, existentialism, questions of life and death, metaphysics, epistemology, the mind-body problem, morality, justice, and what we owe one another Draws on Metallica’s lyrical content, Lars Ulrich’s relationship with Napster, as well as the documentary _Some Kind of Monster_ Serves as a guide for thinking through the work of one of the greatest rock bands of all time Compiled by the editor of _Seinfeld and Philosophy: A Book about Everything and Nothing_ and _The Simpsons and Philosophy: The D’oh! of Homer_. (shrink)

The mention of “self-control” calls up certain stock images: Saint Augustine struggling to renounce carnal pleasures; dispassionate Mr. Spock of Star Trek; the dieter faced with tempting desserts. In these stock images reason is almost always assigned the power and authority to govern passions, desires, and appetites. But what if the passions were given the power to rule—what if, instead of sovereign reason, there were sovereign sentiments? My dissertation examines three sentimentalist conceptions of self-control: David Hume’s conception of “strength (...) of mind”; Adam Smith’s conception of “self-command”; and Jane Austen’s examination of these conceptions. Hume divests reason of motivational power, and with this new moral psychology comes a new conception of self-control. Humean strength of mind is indirect, artificial, and social—a regulatory system that humans cannot develop until societal systems of government and regulations have been instituted. Smith accepts Hume’s anti-rationalist arguments, but he emphasizes that only certain sentiments are fit to rule. And he argues that self-control develops without the sophisticated external conditions posited by Hume. Smithian self-command is the capacity to modify one’s feelings in accordance with a regulative ideal: the sentiments of an imagined impartial spectator. Austen responds to these conceptions, illustrating and complicating them. Sense and Sensibility explores the difficulties of discerning the feelings of others, and Persuasion dramatizes the difficulties of distinguishing strength of mind in another, offering sets of characters for the reader’s scrutiny, each with a competing claim to strength of mind. Taken together, Austen’s novels offer a fuller and more delicately shaded depiction of the sort of self-control that Hume and Smith imagine in their philosophical works. (shrink)

In 1966 Gene Roddenberry, then a relatively unknown TV writer, created what was to become a cultural sensation. From cell phones and tablets, to MRI machines and medical jet injectors, Star Trek has undoubtedly anticipated much of the technology that we take for granted today. Moreover, the disagreements, fights and jokes between Captain Kirk (William Shatner), Dr Leonard ‘Bones’ McCoy (DeForest Kelley) and Mr Spock (Leonard Nimoy) were expertly crafted for dramatic impact. But I’m not writing this to confess (...) to you my obsessive infatuation with the Star Trek universe. Instead I want to discuss how the beliefs and practices of Vulcans like Spock are similar to those of the Stoic school of philosophy. (shrink)

Numbers. Natural numbers -- Integers -- Real numbers -- Irrational and transcendental numbers -- Funny numbers. Zero -- e : the unnatural natural number -- [Phi] : the golden ratio -- i : the imaginary number -- Writing numbers. Roman numerals -- Egyptian fractions -- Continued fractions -- Logic. Mr. Spock is not logical -- Proofs, truth, and trees : oh my! -- Programming with logic -- Temporal reasoning -- Sets. Cantor's diagonalization : infinity isn't just infinity -- Axiomatic (...) set theory : keep the good, dump the bad -- Models : using sets as the LEGOs of the math world -- Transfinite numbers : counting and ordering infinite sets -- Group theory : finding symmetries with sets -- Mechanical math. Finite state machines : simplicity goes far -- The turing machine -- Pathology and the heart of computing -- Calculus : no, not that calculus- [lambda] calculus -- Numbers, booleans, and recursion -- Types, types, types : modeling [lambda] calculus -- The halting problem. (shrink)

This paper is an attempt to elucidate the senses in which this place-name is used in Homer; to assign meanings to the Homeric terms Achaean, Iason and Pelasgic Arge, to ‘Argive’ as a synonym for Greek, and to establish the nature of the Argos over which Agamemnon ruled. I take the Homeric poems as the unity which they profess to be, and which they must be for historical enquiry. Whatever liberties Homer took with his materials it is plain (...) he was careful to respect events. The effort to distinguish between old and new in the Iliad and Odyssey has caused needless and fruitless encumbrance to the official historians, such as Busolt; the Unitarian position has given us the remarkable results of Professor Myres' . The consistency of Mr. Myres' account, and I venture to hope of mine, allows a fresh inference back to the homogeneity of the poems which are their source. (shrink)

In the beginning of Star Trek Into Darkness, Mr. Spock descends into the heart of a raging volcano on the planet Nibiru. His mission: to detonate a cold fusion device that will solidify the bubbling magma before it erupts and destroys an entire civilization. Meanwhile, Captain James T. Kirk is on the bridge of the Enterprise facing a dilemma. He's duty‐bound never to violate the Prime Directive. One way to address the problem of the Prime Directive is to follow (...) the criteria used by Vulcans: reason and logic. This approach has been highly revered in the history of moral philosophy, and was most convincingly articulated by Immanuel Kant. Confucius and Aristotle would agree that while the Prime Directive is usually correct, there will be cases where it's wrong not to break it. The Prime Directive symbolizes just how difficult making good moral decisions can be. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Transvestite Achilles: Gender and Genre in Statius' AchilleidNeil W. BernsteinP. J. Heslin. The Transvestite Achilles: Gender and Genre in Statius' Achilleid. Cambridge: Cambridge University Press, 2005. xx + 349 pp. Cloth, $80.You do a girl tolerable poor, but you might fool men, maybe. Bless you, child, when you set out to thread a needle, don't hold the thread still and fetch the needle up to it; hold (...) the needle still and poke the thread at it—that's the way a woman most always does; but a man always does t'other way.... Why, I spotted you for a boy when you was threading the needle; and I contrived the other things just to make certain.(Mark Twain, Huckleberry Finn, chap. 11)In the wake of important briefer studies by Barchiesi, Feeney, and Hinds, and new editions by Rosati and Shackleton Bailey, Heslin has now produced the first full-length monograph in English on Statius' Achilleid. Although he surveys the entire poem, Heslin devotes particular attention to the episode of Achilles' transvestism at the court of Lycomedes on Scyros. By turns as witty, sophisticated, and learned as its object of examination, this book focuses on the themes of "the relationship of the Achilleid to the epic tradition and to the mythical biography of Achilles, Statius' manner of characterization, and the way he explores the nature of sex and gender" (xviii).Chapter 1, "Opening Nights at the Opera 1641–1744," demonstrates the Scyros narrative's appeal to a performance genre that commonly features transvestite masquerade. Assuming that his readers have little familiarity with the history of opera, Heslin surveys nine operas over a century and provides an "Epilogue" that brings his discussion into the twentieth century. The extended discussions of operas such as Gay's Achilles and Metastasio's Achille in Sciro (and the latter's numerous revivals) skillfully relate the libretti and staging to contemporary political, social, and literary debates. This chapter succeeds admirably in bringing out many of the major issues to which subsequent chapters return, such as the opposition of biologically essentializing and socially constructed models of gender and the conflict between heroic and burlesque approaches to mythological narrative.Chapter 2, "The Design of the Achilleid," takes up more traditional questions of form and genre. Though clearly an incomplete narrative, the Achilleid was carefully revised, and the text features a coherent design. Heslin suggests that Statius produced a prospectus designed to attract further patronage and thus intentionally left the reader unable to determine the future course of the epic either from the proem or extant narrative. Viewing the Achilleid as a prospectus permits Heslin to account for the proem's lack of specificity (in contrast, for example, to the "table of contents" found in the Thebaid's proem). The latter part of the chapter offers a close analysis of the proem and an assessment of Statius' engagement with the literary tradition. The Achilleid's proem bluffs the reader by advertising a linear, non-Aristotelian narrative, where in fact the epic begins in medias res and proceeds selectively. In contrast to the mad, vatic poet of the Thebaid, this narrator asserts his control over the narrative. Through passages such as Achilles' song in Chiron's cave, the epic enters "an ongoing discussion [End Page 142] regarding the proper version of a myth" (91) in the manner of learned Hellenistic poetry. The chapter concludes with a discussion of Statius' corrections of Vergil, such as his introduction of Deidamia (Achilleid 1.290–300) that responds to contemporary criticisms leveled at Vergil's Dido/Diana simile.Chapter 3, "Womanhood, Rhetoric, and Performance," offers a reading of the performances of gender by Thetis, Deidamia, and Achilles. Thetis' incompetent use of rhetoric makes her "the Mrs. Malaprop of Latin epic" (137). In her entreaty of Neptune, she fails to recapitulate the success enjoyed by literary models such her Homeric counterpart and the Vergilian Juno and Venus, in part because of her misuse of mythological exempla. She continues to misuse exempla in her persuasion of Achilles, undermining her case by associating his transvestism with the transsexuality of Caenis/Caeneus. Heslin further claims that Thetis engages in "discursive 'transvestism'" (133... (shrink)

This book brings together essays on themes of human rights and legal history, reflecting the long and distinguished career as academic writer and human rights activist of Brian Simpson. Written by colleagues and friends in the United States and Britain, the essays are intended to reflect Simpson's own legal interests. The collection opens with biography of Simpson's academic life which notes his major contribution to legal thought, and closes with an account of his career in the United (...) States and a bibliography of his writings. As a tribute to Simpson's varied interests in the law, the collection is grouped around themes in human rights, legal philosophy, and legal history. The human rights papers are concerned with the history of the right of individual petition to the European Court of Human Rights, and recent successes in which Brian Simpson played a part; the evolution of a transnational common law of human rights; the United Nations Convention on the Rights of the Child and the interpretation of the provisions on identity in France and England; the suspension of human rights which would have occurred, had the emergency War Zone Courts scheme been brought into effect during wartime; historical resistance to colonial laws in Papua New Guinea; and the ratio decidendi of the story of the Prodigal Son. Historical themes are found in essays concerned with three nineteenth-century Lord Chancellors; in two essays relating to the fate of the civil jury on either side of the Atlantic which provide a fascinating comparison; in the 'battle of the books' which led to changes in eighteenth-century copyright law; and judicial rivalry between King's Bench and Common Pleas in the early modern period. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.3 (2003) 469-471 [Access article in PDF] Warner and Shaw's Medea Ruth Scodel What should we, as classicists, want from contemporary productions of ancient dramas? As scholars, we tend to be historicists: whether or not we locate the basis for interpretation in an author, we usually locate it in the original context, if only because that is our expertise and the basis for our authority. (...) The study of tragedy has in recent years been dominated by new historicism, which places the plays firmly within the discursive world of fifth-century Athens. Typically, however, the more embedded the plays are in their own cultural discourse, the less immediately they speak within ours. Simultaneously, reception studies have flowered but do not provide much help in thinking about how our scholarly reception might or should interact with the theater. What do we hope productions will offer the broader public? What do we hope to learn from them for ourselves?A recent high-profile production of Medea invites such questions. 1 Warner and Shaw's Medea is filtered not through new historicism or even old historicism but through the miseries of contemporary divorce. (In a panel discussion at the University of Michigan, Shaw told anecdotes of divorcing couples who chopped up antique beds or gave away their spouse's wine cellars.) Generally favorably received by critics and audiences, it was severely criticized by Daniel Mendelsohn in The New York Review of Books. He calls it "vulgar, noisy, and uncomprehending" for its focus on the personal rather on the political. 2 Insisting that tragic women do not represent real women (or not just real women) but are "rather symbolic entities representing everything 'other' to that smoothly coherent citizen identity," Mendelsohn argues that "Warner's Euripides fails because it mistakes 'our' women for Euripides' women." As a [End Page 469] historicist, he objects that a production that ignores the political in the play thereby reduces it to domestic melodrama.There are at least two questions here. Whatever else Euripides' women were, Aristophanes shows plainly that members of the original audience thought they were representatives of real women. This Medea assumes that Euripides' women are near enough to our women. That is an acceptable working assumption. More troublesome is the other side of Mendelsohn's objection: that this production develops only one aspect of a complex play and is therefore reductive. That is undeniably true. Indeed, the reading of Euripides behind this production is in some ways perverse. Inevitably, as a scholar I feel troubled at having it offered to an audience as Euripides ("a very pretty poem, Mr. Pope, but you must not call it Homer").And yet: the set (with the pool of water that has become so frequent in recent theater) is littered with concrete blocks, as if Jason and Medea were in the middle of a remodeling project when Jason left. We classicists are used to prior knowledge of our plays, but this production fights our tendency to see tragedy as enacting the already known. Just as the set is not finished, Medea is uncertain, and her ignorance of what she is going to do allows even the professional to indulge in the illusion of not knowing the outcome. (Whether or not Euripides invented the murder of the children, the original audience did not know exactly what would happen.) The first half is very funny. Medea herself seems intensely aware that there is something fundamentally ridiculous about passion and revenge. Shaw delivers lines, especially gnomes, with ironic distance, as if they were already clichés and she were already tired of them. Hence her Medea is not the one familiar to Classicists, the adherent of a typical male heroic code, but rather a woman who says these things because they are available, exhausted by the banality of her own suffering. Her self-consciousness is reminiscent of Seneca's Medea; however, she is not working towards a self that already exists, but hunting for an acceptable role to play. Educated moderns surely often have this experience of feeling trapped in situations where our emotions... (shrink)

In which a scientist searches for an empirical explanation for phenomenal experience, spurred by his instinctual belief that life is meaningful. What links conscious experience of pain, joy, color, and smell to bioelectrical activity in the brain? How can anything physical give rise to nonphysical, subjective, conscious states? Christof Koch has devoted much of his career to bridging the seemingly unbridgeable gap between the physics of the brain and phenomenal experience. This engaging book--part scientific overview, part memoir, part futurist speculation--describes (...) Koch's search for an empirical explanation for consciousness. Koch recounts not only the birth of the modern science of consciousness but also the subterranean motivation for his quest--his instinctual belief that life is meaningful. Koch describes his own groundbreaking work with Francis Crick in the 1990s and 2000s and the gradual emergence of consciousness as a legitimate topic for scientific investigation. Present at this paradigm shift were Koch and a handful of colleagues, including Ned Block, David Chalmers, Stanislas Dehaene, Giulio Tononi, Wolf Singer, and others. Aiding and abetting it were new techniques to listen in on the activity of individual nerve cells, clinical studies, and brain-imaging technologies that allowed safe and noninvasive study of the human brain in action. Koch gives us stories from the front lines of modern research into the neurobiology of consciousness as well as his own reflections on a variety of topics, including the distinction between attention and awareness, the unconscious, how neurons respond to Homer Simpson, the physics and biology of free will, dogs, Der Ring des Nibelungen, sentient machines, the loss of his belief in a personal God, and sadness. All of them are signposts in the pursuit of his life's work--to uncover the roots of consciousness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter van Inwagen FICTION AND METAPHYSICS Many works of fiction address themselves directly to metaphysiced issues. One thinks of the stories of Olaf Stapledon, Charles Williams, or Jorge Luis Borges. Other fiction is more subtly and indirectly related to metaphysics — A la recherche du temps perdu, for exeimple, or, in a radier different way, some science fiction. The relations that various novels and stories bear to the questions (...) ofmetaphysics would be an interesting topic, but it is not the topic of the present article, which is the relevance to metaphysics not of this or that work, but ramer of the very existence of such a thing as fiction. We shall see mat philosophical reflection on fiction can lead one to certain remarkable metaphysical conclusions. Not surprisingly, the area of metaphysics to which these conclusions pertain is ontology. The word, though not the study it represents, is a new one — it is probably a seventeenth-century coinage. In the present century, the word "ontology" is associated mainly with the names of Heidegger and Quine. I shall be using the word in Quine's sense: as a name for the study that attempts to answer the question, What is there? Quine's contributions to this study are of central importance for the thesis of this article. These contributions may be divided into two parts: those that belong to ontology proper and those that belong to what we may call meta-ontology. By Quine's "ontology proper," I mean his actual attempt to answer the question, What is there? This attempt is of great intrinsic interest, but it is not relevetnt to my topic. By Quine's meta-ontology, I mean his feunous discussion of what it is to ask what there is emd his famous dieses about how to approach mis question.1 These theses are the product of a really remarkable effort to think clearly about questions almost no one had thought cleeirly about, and a proper appreciation of them will liberate one from some very old and very strong illusions about being emd existence. Or so many philosophers, including the present author, would say. And yet Quine's meta-ontology, when it is combined with what seem to be some very simple emd obvious facts about fiction, yields a result mat seems just obviously wrong: that names drawn from works of fiction ("Mr. Pickwick" emd "Tom Sawyer," for example, as well as proper names of odier sorts, such as "Dotheboys Hall" and "Barchester") denote existent objects. The thesis of this 67 68PHILOSOPHY AND LITERATURE article is mat this consequence of Quine's meta-ontology does not constitute a reductio ad absurdum; radier, Quine's meta-ontology should be retained and mis consequence accepted. I shall first examine Quine's meta-ontology in the abstract, and then in application to fiction. In the abstract, Quine's meta-ontology may be viewed as comprising four propositions. (1)Being is die seune as existence. That is, to say mat things of a certain sort exist emd to say mat there être things of diat sort is to say pretty much the same diing. For example, to say diat horses exist is to say mere are horses, and to say mat diere was such a person as Homer is to say that Homer existed. This might seem obvious, but on reflection it can seem less obvious. Suppose I am discussing someone's delusions and I say, "There are a lot of diings he believes in that do not exist." On die face of it, I appear to be saying diat diere are diings — the poison in his drink, his uncle's medice, emd so on — that do not exist. To tedce a radier more metaphysical example, I have read a letter to the editor of a newspaper, the audior of which argues diat contraception is a sin since it prevents people who would omerwise exist from doing so. This may be a bad argument on meiny grounds that have nothing to do with metaphysics, but it is certainly clear diat its propounder believes diat diere are unconceived people, people who might have existed but who, owing to certain acts of contraception, do not exist... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Multidisciplinary Inquiry in the Study of Religion:The Next GenerationF. LeRon Shults (bio)Bob Neville and I began our introduction to Religion in Multidisciplinary Perspective: Philosophical, Theological, and Scientific Approaches to Wesley J. Wildman, by describing the latter as "the most original, audacious, creative, encyclopedic, and integrative thinker working within and across the fields of philosophy, ethics, theology, and the scientific study of religion in our time."1 Notice we did not (...) say "one of the most," but "the most." We stand by the claim. Active members of the Institute for American Religious and Philosophical Thought (IARPT), the professional association that sponsors the American Journal of Theology and Philosophy (AJPT), will be familiar with Wildman's work and not at all surprised by this assertion. For those less well acquainted with Wildman, and so understandably somewhat suspicious of such a claim, I hope that the essays in the special issue—and of course the Festschrift to which they respond—will diminish their skepticism and pique their curiosity.It was Wesley who invited me to join IARPT all those many years ago (when it was still HIARPT), a unique group of pragmatist and process philosophers, most of whom are (more or less religious) naturalists. It is an association of professionals and friends within which I have found a happy home. It has been a joy to be able to put together the book and this special issue to honor Wesley and promote further engagement with his work.It was a difficult task for Bob Neville and me to categorize Wildman's multidisciplinary corpus, but eventually we decided to invite contributors to approach his work from the general direction of one of three areas—philosophy, theology, or science—while simultaneously reaching across disciplines. In the aforementioned introduction, we offered a brief academic biography and summary of some of Wildman's most significant books for those not familiar with his writings. The three major parts of the volume, which I will summarize below, offer several scholarly engagements with Wildman's thought, each approaching it with a multidisciplinary perspective. For those unfamiliar with his philosophy, a good place to start for understanding his approach to philosophy is Religious Philosophy as [End Page 5] Multidisciplinary Comparative Inquiry.2 A good place to begin getting familiar with his approach to theology is In Our Image: Anthropomorphism, Apophaticism, and Ultimacy.3 A good place to get a feel for his approach to the scientific study of religion is Science and Religious Anthropology: A Spiritually Evocative Naturalist Interpretation of Human Life.4Whether in philosophy, theology, or the scientific study of religion, Wildman has not hesitated to "boldly go where no one has gone before." With the courage of a Captain Kirk and the intelligence of a Mr. Spock, not to mention the ingenuity of a Scotty and therapeutic skills of a Dr. McCoy, Wildman has trekked through the unknown (and in the case of theology, he would add, unknowable) conceptual space of more disciplinary systems that one would think possible. His intellectual voyages exploring strange new multidisciplinary worlds have been an inspiration to many in the next generation of scholars interested in engaging American religious and philosophical thought. People who know Wesley well also know how much energy he has committed to nurturing this next generation. The younger authors who have contributed to this special issue may not even get my references to the original Star Trek, which aired in the 1960s, and are perhaps even too young even to remember Star Trek: The Next Generation, which first aired in 1987, with Captain Jean Luc Picard and the gang. Well, one gets to a certain age and one has to come to terms with using the cultural references one has.In the film Star Trek Generations, which came out 30 years ago, the same year (indeed, the same month) that I met Wesley, Captain Picard finds himself facing another galactic crisis and (spoiler alert) ends up being pulled into the "Nexus," an extra-dimensional realm of wish fulfillment, where he finds Captain Kirk, long presumed dead, enjoying himself immensely. Kirk agrees to help Picard alter space-time and together they save the universe (again). OK, let... (shrink)

The Homeridae bear the name of Homer, and should point a path by which we may climb to his personality. In antiquity they were known to be a γένος, a constituted family-corporation, though the accounts of the functions they fulfilled are scanty. Modern criticism, with its usual fluctuation, began by taking them at their apparent value; then adopted from a Roman grammarian a rationalistic explanation of them; invented other similar rationalistic explanations; and finally my lamented colleague Mr. Binning Monro (...) robbed them of all significance by treating the word as an adjective, an equivalent of Ὁμηρικοí Men who are called Sons of Homer should not be lightly dismissed, and it may be worth while to go over the familiar evidence once more in the hope that this obvious avenue to Homer may not turn out a blind alley. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Lessons of TheoryJay PariniOne does not have to look far these days to find someone bashing literary theory, and in some respects it deserves it. Joseph Epstein, for one, has almost never tired of picking away at the motives of those who engage in literary theory: “The major impulse of theory was suspicion,” he has said. “In this regard theory gave that portion of the professoriat who came (...) through the sixties unfulfilled, and those younger professors—women, ethnic minorities, homosexuals—who chose to squeeze all they could out of their self-created status of victimhood, a large and lovely outlet for their resentment.” The irony is that one hears in this semi-hysterical cri de coeur the very suspicion that the author is supposedly complaining about. Mr. Epstein, neither female nor gay, apparently feels passed over. Inadvertently, he has become the Victim himself.Literary theory—or just “theory”—has frightened a whole generation of intellectuals into early mental retirement, mostly because they have not the stamina or will to enter into appropriate conversation with their younger colleagues. Perhaps the most unfortunate aspect of the debate over theory has been this extension into the academy of what, in the sixties, used to be called the generation gap; indeed, many of the same dynamics seem to apply, with theorists pitting themselves against all forms of authority. “Never trust anyone under thirty” has been transmogrified into “Never trust anyone who doesn’t appreciate Foucault.”In the seventies, theory moved toward the center of the curriculum at most American graduate schools of literature, and it has remained in place for nearly a quarter of a century. The charge is often heard, perhaps with some justice, that students now spend more time reading [End Page 91] Foucault or Derrida than Shakespeare or Dante, and that this has created an imbalance. But even here, the situation is exaggerated; graduate students do indeed get a heavy dose of theory, yet one sees few undergraduate classrooms in the United States where anything resembling literary theory has displaced the teaching of canonical texts. For the most part what has happened is that the canon has been widened to include texts by previously overlooked writers—usually texts by women or minorities. Such a development hardly threatens to erase or even partially to occlude Homer, Shakespeare, and Milton.The charge that theory is unreadable is, for me, a more important criticism. (There’s a joke I like in this regard: Question: What do you get when you cross a deconstructionist with a mafioso? Answer: An offer you can’t understand.) Jargon has overwhelmed literary criticism to the point where the so-called Common Reader is now fiercely excluded from the conversations that take place in most professional journals and academic conferences, and the consequences of this exclusionary practice are profound. The most obvious effect is that serious literature itself, and thinking about literature and its place in the world, is removed from mainstream consumption. As a result, the general quality of our national discourse—in the arts as well as collateral areas, such as politics—is diminished.This said, I would still argue that an intellectual revolution of sorts has indeed occurred in the last thirty years, and that theory has permanently changed the ways that we—as readers and writers—go about our reading and, yes, our thinking. The peak of the battle over theory passed several years ago; in fact, we seem to have entered a “post-theoretical” moment, and so the time may have arrived for reassessing some of the lessons of theory. This “revolution” is pretty much a literal one: a turning of the wheel. But the wheel has been turning for a long time. Our ways of reading have been challenged almost continuously from the beginning of this century, when the belles-lettres style of criticism popular just after the Great War was dislodged by the philologists, and the philologists were attacked by the literary historians, and the historians were pushed temporarily to one side in the late forties and early fifties by the New Critics. And so forth. The history of criticism is simply a history of overturnings, or absorptions (I rather... (shrink)

This is the English (and extended version) of an interview originally published in Estonian in October 2018. In the interview, Simpson summarizes a particular way of defending the practice of no-platforming. The varying appeal of different defences of the practice in different socio-historical contexts (i.e. the UK/US versus a post-Soviet country such as Estonia) is discussed also.

Matthew Simpson - Routledge Philosophy Guidebook to Rousseau and The Social Contract - Journal of the History of Philosophy 43:3 Journal of the History of Philosophy 43.3 364 Christopher Bertram. Routledge Philosophy Guidebook to Rousseau and The Social Contract. London: Routledge, 2004. Pp. ix + 214. Paper, $15.95. The main problem with the interpretation of Rousseau's political thought today is that his theories rarely fit into the categories that define contemporary philosophy. He was neither a liberal nor a communitarian, (...) neither a democrat nor an absolutist, neither a rationalist nor a voluntarist. Yet all these ways of thinking can be glimpsed in his philosophy. The consequence is.. (shrink)

"This is a timely collection of important papers.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:GenetGerald PrinceGenet, by Edmund White (with a chronology by Albert Dichy); xliii & 820 pp. London: Picador, 1994, $29.95 paper.Abandoned to a foundling home in 1910 at the age of seven months, he started to steal before puberty, spent over two years as a teenager in the penal colony of Mettray, signed up with the French army for several tours of duty, and deserted. He traveled through Europe (...) and was arrested in Albania, Yugoslavia, Austria, Czechoslovakia, Poland. He was also repeatedly arrested and sent to jail in France—for embezzlement, for petty theft, for vagrancy—and his record of convictions made him liable for a life sentence until he was pardoned by the President of the Republic. He looked like a dandified tramp or a retired boxer. He frequented thugs and artists or philosophers, criminals and police chiefs, prostitutes as well as cabinet ministers. A book lover, he owned no books. A homosexual, he was rarely attracted to other homosexuals. A great champion of singularity, he came to feel that all human beings were equally valuable. Though he showed himself capable of impassioned friendship, he extolled and often practiced betrayal. He once boasted of being “strong from never having passed through a woman except at the moment of [his] birth” (p. 594). Yet he was a feminist. For a long time he could barely compose a standard letter in French but, when he died from throat cancer in 1985, he had written several masterpieces. He was Jean Genet.If, in his monumental Saint Genet, Sartre pays more attention to the configuration of the writer’s life than to the moments making up that life, Edmund White, in his admirable biography, patiently aligns the moments and waits for patterns to emerge. Genet is, first of all, a meticulous chronicle and can be savored for the details it provides about the protagonist’s daily life or its context, from gay bars in Pigalle to the 1968 Democratic convention in Chicago which Genet covered for Esquire. We learn many things. For example, that the FBI spelled his name as “John Genet” and Sartre’s as “Jean Paul Sat”; or that Leonard Nimoy (Mr. Spock) started his career by playing in movie versions of two Genet plays: The Balcony and Deathwatch.Through the accumulation of facts and anecdotes, great themes—homosexuality, death, abjection, gesture, power—slowly crystallize and White writes splendid pages on the quality of Genet’s texts (beyond their shock value: Genet said that “poetry is the art of using shit and making you eat it”). Written from 1942 to 1947, his five novels (Our Lady of the Flowers, The Miracle of the Rose, Funeral Rites, A Thief’s Journal, Querelle) treat homosexuality with unsurpassed candor, glorify evil, transvalue all values, and blend sociology and myth, slang and highly formal language, in a sumptuously lyrical prose. With The Balcony, The Blacks, and The Screens—composed between 1955 and 1957—Genet invents a stylized and ritualistic theater to explore the dynamics of power. Finally, in the striking mixture of memoir, pamphlet, and epic called The Prisoner of Love [End Page 146] (1985) Genet exalts two disinherited groups—the Black Panthers, the Palestinians—and suggests that love is the site where uniqueness and universality merge.More generally, certain constants in Genet’s life become evident: the loyalty to the abandoned child he was and the hatred for the bourgeois society that dispossessed him; the need to reject before being rejected; the fascination with power and the affirmation of otherness; the ability to mythify himself as an angel of rebellion. Genet was a sociopath of genius.Above all, by its scrupulous scholarship, its successful determination to remain impartial, and its capacity for authoritative prosaism, White’s biography encourages readers to take a (new) look at Genet’s flamboyantly unorthodox writing. It is a remarkable achievement.Gerald PrinceUniversity of PennsylvaniaCopyright © 1995 The Johns Hopkins University Press... (shrink)

Proponents of the view which I call ‘moral antitheodicy’ call for the theistic discourse of theodicy to be abandoned, because, they claim, all theodicies involve some form of moral impropriety. Three arguments in support of this view are examined: the argument from insensitivity, the argument from detachment, and the argument from harmful consequences. After discussing the merits of each argument individually, I attempt to show that they all must presuppose what they are intended to establish, namely, that the set of (...) premises advanced in any given theodicy will be untenable. I conclude by discussing what uses there might be for the moral critique of theodicy, if it cannot be used to ground a global rejection of theodical practice. (shrink)

The problem of creeping minimalism concerns how to tell the difference between metaethical expressivism and its rivals given contemporary expressivists’ acceptance of minimalism about truth and related concepts. Explanationism finds the difference in what expressivists use to explain why ethical language and thought has the content it does. I argue that two recent versions of explanationism are unsatisfactory and offer a third version, subject matter explanationism. This view, I argue, captures the advantages of previous views without their disadvantages and gives (...) us a principled and general characterisation of non-representational views about all kinds of language and thought. (shrink)

This book explores the relationship between a scientifically updated Aristotelian philosophy of nature and a scientifically engaged theology of nature that cuts across interdisciplinary boundaries. It features original contributions by some of the best scholars engaging with Aristotelianism in contemporary metaphysics, philosophy of science, and philosophical theology. Despite the growing interest in Aristotelian approaches to contemporary philosophy of science, few metaphysicians have engaged directly with the question of how a neo-Aristotelian metaphysics of nature might change the landscape for theological discussion (...) concerning theology and naturalism, the place of human beings within nature, or the problem of divine causality. The chapters in this volume are collected into three thematic sections: Naturalism and Nature, Mind and Nature, and God and Nature. By pushing the current boundaries of neo-Aristotelian metaphysics to recover the traditional notion of substantial forms in physics, reframe the principle of proportionality in biology, and restore the hierarchy of being familiar to ancient philosophy, this book advances a metaphysically unified framework that accommodates both scientific and theological knowledge, enriching the interaction between science, philosophy and theology. Neo-Aristotelian Metaphysics and the Theology of Nature will be of interest to scholars and advanced students working in metaphysics, philosophy of science, natural theology, philosophical theology, and analytic theology. (shrink)

Couched in Death: Klinai and Identity in Anatolia and Beyond. By Elizabeth P. Baughan. Wisconsin Studies in Classics. Madison: University of Wisconsin Press, 2013. Pp. xvii + 487, illus. $65.

Continental theorists have been increasingly drawn towards elements of the everyday – food, sex, exercise, and so forth – as sites of ethical and epistemological analysis and modification. These analyses have generally been seen separately through the lens of phenomenological, critical, or experimental methods. Despite this division, this paper argues, in line with the work of Bruno Latour, that the analysis of food reveals a complex interplay between the social, political, personal, and experimental dimensions of food. Food should thus be (...) seen as ecological and intermodal, as a complex site of interchange between multiple forms of activity and knowing. This explains both food’s potential for appropriation by multiple projects, but problematizes any single method for analyzing the politics, pleasure or culture surrounding food. (shrink)

The Devlin Commission Report of 1959 on the handling of the emergency in Nyasaland (Malawi) was unique in British colonial history. On no other occasion was a commission, chaired by a British judge, established to consider generally the response of a colonial government to a problem of law and order. Though now remembered mainly as an incident in decolonization, the report has a special legal significance in that it addresses the perennial problem of the relationship between respect for the rule (...) of law and the supposed need to suppress an insurrectionary movement. Documents now available make it possible to give a full account of the work of the commission, and of the processes whereby the text was modified so as to downplay Devlin's desire to publish a report which squarely faced this problem. The suppressed passages in the draft report are here published for the first time. (shrink)