Many writers have paid tribute to its power: Shakespeare urged his audiences to use it to create a setting; Hobbes asserted that "imagination and memory are but one thing; " for Wordsworth it was "the mightiest leveler known to moral world; " and to Baudelaire it represented "the queen of truth. " Imagination as artistic, poetic, and cultural predicate remains one of the most influential ideas in the history of Western thought. It has been simultaneously feared as a dangerous, uncontrollable (...) force, and revered as the supreme visionary power. The questions of its origins, nature, function, and effects have absorbed writers, theologians, and philosophers alike. J. M. Cocking's Imagination shows how these questions have recurred, through the ages and in various cultures. Exploring this theme, from antiquity to the Renaissance, it opens with a discussion of the treatment of imagination in the writings of Aristotle and Plato. Tracing its development in the Middle Ages, Cocking pays particular attention to the parallel tradition in Islamic thought of the period. The book pursues the concept through the theories of Dante and the neo-Platonists, concluding with the High Renaissance. (shrink)

Philosophical discussion tends to converge on the view that narratives are at the center of the emotion of grief. In this article, I expand on this kind of view. On the one hand, I argue that key strands of phenomenological and neuroscientific studies suggest that grief consists in a complex emotional process of disconfirmation-and-updating of the narrative self-model. By heuristically drawing on an analogy between binocular rivalry and grief, I show that certain salient aspects of the phenomenology of grief, such (...) as self-alienation and ambiguity, are straightforwardly reflected by this account. On the other hand, I argue that this hierarchical approach has the resources to: (i) show that both narratable and unnarratable experiences of personal loss are both instances of grief; and (ii) differentiate between narratable and unnarratable experiences of grief, without compromising the view that self-constituting narratives are at the center of the phenomenon. (shrink)

Divided-mind approaches to the conflict involved in self-control are pervasive. According to an influential version of the divided-mind approach, self-control conflict is a dispute between affective reactions and “cold” cognitive processes. I argue that divided-mind approaches are based on problematic bipartite architectural assumptions. Thus views that understand self-control as “control _of_ the self” might be better suited to account for self-control. I subsequently aim to expand on this kind of view. I suggest that self-control conflict involves a rivalry between narrative (...) self-models aimed at reducing error, analogous to model rivalry in binocular rivalry paradigms. This approach straightforwardly accounts for the sense of conflict that is characteristic of self-control within a unified-mind approach, and among its other explanatory advantages, it directly aligns with current views that account for addiction in terms of maladaptive self-representational processes. (shrink)

The theory of emotion developed by William James has been subject to four criticisms. First, it is held that Jamesian emotion is without function, that it plays no role in cognition and behavior. Second, that James ignores the role of experience in emotion. Third, that James overstated the role of physical processes in emotion. Fourth, that James’ theory of emotion has been experimentally demonstrated to be false. A fifth point, less an explicit criticism than an assumption, holds that James has (...) nothing to offer a social psychology of emotions. It will be shown in this paper that not one of these criticisms of James' theory of emotion can be sustianed. (shrink)

Feigning symptoms distorts diagnostic evaluations. Therefore, dedicated tools known as symptom validity tests have been developed to help clinicians differentiate feigned from genuine symptom presentations. While a deviant SVT score is an indicator of a feigned symptom presentation, a non-deviant score provides support for the hypothesis that the symptom presentation is valid. Ideally, non-deviant SVT scores should temper suspicion of feigning even in cases where the patient fits the DSM’s stereotypical yet faulty profile of the “antisocial” feigner. Across three studies, (...) we tested whether non-deviant SVT scores, indeed, have this corrective effect. We gave psychology students and clinical experts a case alluding to the DSM profile of feigning. In successive steps, they received information about the case, among which non-deviant SVT outcomes. After each step, participants rated how strongly they suspected feigning and how confident they were about their judgment. Both students and experts showed suspicion rates around the midpoint of the scale and did not respond to non-deviant SVT outcomes with lowered suspicion rates. In Study 4, we educated participants about the shortcomings of the DSM’s antisocial typology of feigning and the importance of the negative predictive power of SVTs, after which they processed the case information. Judgments remained roughly similar to those in Studies 1–3. Taken together, our findings suggest that students and experts alike have difficulties understanding that non-deviant scores on SVTs reduce the probability of feigning as a correct differential diagnosis. (shrink)

Uitgave ter gelegenheid van de vierhonderdste geboortedag van de Nederlandse jurist, diplomaat en schrijver Hugo de Groot (1583-1645).

This book is a collection of papers on the metaphysics and natural philosophy of John Buridan (ca. 1295-1361), one of the most innovative and influential ...

This article addresses the problem of legislation and adjudication in early states, offering examples from Africa and other parts of the world. It discusses the problems of legitimacy and governance, especially in the context of multi-ethnic populations. For some of its generalizations it draws upon a previous study of twenty-one early states.

The Western Tradition has long struggled to define and understand evil, yet definitive answers continue to elude us. So, too, the role of evil in Goethe's Faust remains problematic. With the help of Mephistopheles, Faust acquires a forbidden,,knowledge of good and evil“, evoking the biblical story of the Fall. This study uncovers important layers of meaning in that story and reveals its special and unrecognized significance for Faust.