James Shelley claims that Hume's principles of taste have value-neutral subjects rather than value-laden ones that, for example, refer to aesthetic properties. I try to rebut his claim. I argue that Hume's essay on taste contains the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties in artworks, even if he does not explicitly make this point. I also deny Shelley's contention that I claim that principles are used as part of a temporal (...) process to infer evaluational conclusions. Against Shelly's attack, I defend my use of the isolation clause in formulating evaluational principles. Finally, I show a way to formulate evaluational principles without the isolation clause by substituting an interaction clause. (shrink)

George Dickie argues that Hume's principles of taste have value-laden properties as their subjects, including those properties we now refer to as ‘aesthetic’. I counter that Hume's principles have value-neutral properties as their subjects, and so exclude those properties we now refer to as ‘aesthetic’. Dickie also argues that Hume's essay on taste provides ‘the conceptual means for recognizing the problem of the interaction of aesthetic properties with other properties of artworks’. I counter that the very passages (...) class='Hi'>Dickie takes to provide these conceptual means in fact suggest that Hume recognizes no such problem. (shrink)

The question at issue is whether moral defects of artworks can be aesthetic defects. Noël Carroll claims they can be, Berys Gaut claims they are, and James Anderson and Jeffrey Dean claim they are not. I side with Anderson and Dean and produce additional arguments against Carroll and Gaut. Triumph of the Will serves as an example that all five of us agree is a morally flawed artwork. I argue and conclude that its horrible moral defects are not aesthetic (...) ones. Its triumph is the sum total of its aesthetic merits. (shrink)

, George Dickie offers an account of artistic principles comprising both a description of their character and a description of the role they play in the evaluation of artworks. According to the former, artistic principles state that certain individual properties of artworks, in isolation from other properties, are always artistic merits; according to the latter, artistic principles serve as premises from which we infer that artworks have artistic merit. I argue not merely that Dickie 's account fails, but (...) that any account comprising either component of Dickie's account fails. Because not every account of artistic principles need comprise either of Dickie's components, the success of my argument will not rule out every possible account. But it will rule out many, and it will place tight constraints on the rest—tight enough, I believe, to raise worries about whether principles play any role in the evaluation of art. (shrink)

What is involved in having a singular thought about an ordinary object? On the leading epistemic view, one has this capacity if and only if one has belief-forming dispositions which would reliably enable one to get its properties right (Dickie, 2015). I first argue that Dickie’s official view entails surprising and unpalatable claims about either rationality or singular thought, before offering a precisification. Once we have reached that level of abstraction, it becomes difficult to see what is distinctively (...) epistemic about the framework. If we are to tease out the delicate connection between singular thought and knowledge, we should suspend the assumption that there is a homogeneous core, present in all cases of such thought, and that it is from there that its (univocal) epistemic character derives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Introducing AestheticsJames McRaeIntroducing Aesthetics. By David E. W. Fenner. Westport, CT: Praeger, 2003. Pp. 170.David E. W. Fenner's Introducing Aesthetics offers a comprehensive introduction to the major traditions of Western aesthetics. Fenner confines his study to Western aesthetics and does not address the aesthetic traditions of Asian philosophy. This is not, by any means, a limitation, as this restriction of scope makes Fenner's work more concise and readily (...) accessible to those unfamiliar with aesthetics.Fenner divides his book into four parts: "Experiences," "Objects and Events," "Meaning," and "Judgment." Part 1 discusses the meaning and scope of the term "aesthetic" and analyzes the significance of "aesthetic experiences" and "aesthetic properties." Here, Fenner also explains the notion of aesthetic attitude as it is understood from the traditional perspective of disinterest (which includes thinkers such as Kant, Schopenhauer, and Stolnitz) and from modern points of view (such as Bullough's psychical distance and Aldrich's impressionistic vision).Part 2 contains three chapters, which discuss the nature of aesthetic objects, the definition of "art," and the concept of creation and re-creation. The chapter that explores the definition of "art" provides a succinct explanation of the major traditions of aesthetics and art criticism: the Greek notions of imitation and representation (with sections on Plato and Aristotle), Romanticism (including Schopenhauer and Nietzsche), Expressionism (focusing on Tolstoy, Croce, and Collingwood), Formalism (particularly Moore and Bell), Anti-Essentialism (which includes Wittgenstein and Weitz), and a final section concerning perspectives on the art world (from theorists such as Danto and Dickie). The final chapter, on creation and re-creation, discusses the nature of creativity and the essential differences between fakes, forgeries, and reproductions.Part 3 is devoted to an exploration of the meaning of art. The first chapter of this section concerns the problem of art interpretation and discusses such issues as the educated viewer, the intentional fallacy, and the possibility of a pluralism of artistic interpretations. The second chapter deals with censorship and examines various approaches to balancing the freedom of artistic expression with the moral concerns of society.In Part 4, Fenner examines the theme of artistic judgment. The first chapter of this section analyzes three traditional approaches to defining the term "beauty": formalism, subjectivism, and naturalism. This chapter includes summaries of the aesthetic theories of thinkers such as Plato, Aristotle, Hume, Kant, and Dewey, to name but a few. The final chapter is devoted to a discussion of art criticism. Here, Fenner gives a detailed description of the four aspects of critical review (description, information, interpretation, evaluation) and explores the various challenges raised against the very possibility of criticism (such as emotivism). [End Page 515]Because of the clarity of its presentation and the quality of its scholarship, this book would serve well as a text for either introductory or upper-division undergraduate philosophy classes. One of the more useful features of Fenner's book is an extensive appendix that presents the history of Western aesthetics in outline form. Here, the ideas of the most important movements and philosophers of Western aesthetics are neatly summarized and presented in a chronology that clearly illustrates the historical shift in trends of thought and patterns of influence. This appendix would be an indispensable study guide for graduate students who are preparing for comprehensive examinations in the history of aesthetics. [End Page 516]Copyright © 2006 University of Hawai'i Press... (shrink)

Foreword -- Preface -- Introductory -- What is Gaia? -- Exploring Daisyworld -- The Archean -- The middle ages -- Modern times -- The contemporary environment -- The second home -- God and Gaia -- Gaia since 1988 -- Epilog -- References -- Further Reading -- Index.

Aristotle is a rarity in the history of philosophy and science - he is a towering figure in the history of both disciplines. Moreover, he devoted a great deal of philosophical attention to the nature of scientific knowledge. How then do his philosophical reflections on scientific knowledge impact his actual scientific inquiries? In this book James Lennox sets out to answer this question. He argues that Aristotle has a richly normative view of scientific inquiry, and that those norms are (...) of two kinds: a general, question-guided framework applicable to all scientific inquiries, and domain-specific norms reflecting differences in the target of inquiry and in the means of observation available to researchers. To see these norms of inquiry in action, the second half of this book examines Aristotle's investigations of animals, the soul, material compounds, the motions of heavenly bodies, and respiration. (shrink)

Cultural theories of art were developed to account for the arthood of nonaesthetic and nonimitative artworks. Historical theories such as those proposed by Jerrold Levinson, James Carney, and Noël Carroll fail to account for the arthood of first art and ethnological objects, as does the disjunctive theory of Stephen Davies. An institutional (artworld-based) theory, such as George Dickie’s 1977 version, can account for the arthood of art made within the context of an artworld. But what of objects that (...) are art now but were not made in an artworld context? I add a supplement to Dickie’s institutional theory: the concept of art by proxy. (shrink)

Attention is essential to the life of the mind, a central topic in cognitive science, neuroscience, and psychology. Traditional debates in philosophy stand to benefit from greater understanding of the phenomenon, whether on the nature of the self, the foundation of knowledge, the natural basis of consciousness, or the origins of action and responsibility. This book is at the crossroads of philosophy of mind and cognitive science, offering a new theoretical stance on the concept of attention and how it intersects (...) with other functions of the mind, such as perception, consciousness, and action. It presents attention as directed by a subject, essential for perception, but not consciousness or action. By taking seriously the existence of a subject it stands against current trends in philosophy and cognitive science. This book offers an account of the subject and its role in attention that will both help motivate a subject-centered account and avoid some of the common criticisms regarding its existence. It engages with work by many philosophers, psychologists, and neuroscientists, including Block, Campbell, Dickie, Husserl, James, Koch, Mack and Rock, Merleau-Ponty, Treisman, and Wu. (shrink)

Attention has a long history in philosophy, despite its near absence in the twentieth century. This chapter provides an overview of philosophical research on attention. It begins by explaining the concept of "selection from limitation," contrasting it with the more recent "selection for action." It reviews historical texts that discuss attention, focusing on those in the Western canon whose understanding of "attention" aligns with contemporary usage. It then describes the differential treatment of attention in phenomenology and behaviorism in the last (...) century. Finally, it discusses contemporary research by topic: attention, perception, and knowledge; attention and consciousness; attention and action; and attention and the self. It includes work by Allport,Aristotle, Astell, Augustine, Bergson, Berkeley, Block, Bradley, Buddhaghosa, Campbell, Cherry, De Brigard, Dehaene and Naccache, Descartes, Dickie, Du Bois, Ganeri, Hegel, Heidegger, James, Kant, Koch and Tsuchiya, LaBerge, Locke, Mack and Rock, Malebranche, Merleau-Ponty, Mole, Montemayor and Haladjian, Neumann, Pashler, Posner, Prinz, Reid, Rensink, Reynolds and Heeger, Treisman, Watzl, Wittgenstein, Wollstonecraft, and Wu. (shrink)

The book demonstrates that speaking, feeling, reflecting, and identifying are interrelated processes and shows how desire or shame are attached to language.

This book offers a systematic examination of the place of religion within Kant's major writings. Kant is often thought to be highly reductionistic with regard to religion - as though religion simply provides the unsophisticated with colourful representations of moral lessons that reason alone could grasp. James DiCenso's rich and innovative discussion shows how Kant's theory of religion in fact emerges directly from his epistemology, ethics and political theory, and how it serves his larger political and ethical projects of (...) restructuring institutions and modifying political attitudes towards greater autonomy. It also illustrates the continuing relevance of Kant's ideas for addressing issues of religion and politics that remain pressing in the contemporary world, such as just laws, transparency in the public sphere and other ethical and political concerns. The book will be valuable for a wide range of readers who are interested in Kant's thought. (shrink)

Reviewing works by James Alison, Alistair McFadyen, Andrew Sung Park, Ted Peters, and Solomon Schimmel, the author suggests that the status and function of the discourse/doctrine of sin highlight tensions between theology and ethics in ways that suggest the character, limits, and promise of religious ethics. This literature commends attention to sin-talk because it helps religious ethicists to render more adequately the dynamics of human agency, sociality, and culture and because it raises questions about the nature and task of (...) theology, faith, and morality. Yet these volumes also indicate that religious ethics should pay more attention to particular sins. (shrink)

2013 Word Guild Award (Academic) How does worship work? How exactly does liturgical formation shape us? What are the dynamics of such transformation? In the second of James K. A. Smith's three-volume theology of culture, the author expands and deepens the analysis of cultural liturgies and Christian worship he developed in his well-received Desiring the Kingdom. He helps us understand and appreciate the bodily basis of habit formation and how liturgical formation--both "secular" and Christian--affects our fundamental orientation to the (...) world. Worship "works" by leveraging our bodies to transform our imagination, and it does this through stories we understand on a register that is closer to body than mind. This has critical implications for how we think about Christian formation. Professors and students will welcome this work as will pastors, worship leaders, and Christian educators. The book includes analyses of popular films, novels, and other cultural phenomena, such as The King's Speech, Rise of the Planet of the Apes, David Foster Wallace's Infinite Jest, and Facebook. (shrink)

Der Band gibt einen Überblick über die anglo-amerikanische Ästhetik des 20. Jahrhunderts. In sieben Originalbeiträgen werden Klassiker des Pragmatismus (James, Dewey) und der analytischen Ästhetik (Wittgenstein, Macdonald, Sibley) sowie zentrale Positionen des Neo-Pragmatismus (Shusterman, Rorty) und der post-analytischen Philosophie (Dickie, Danto, Goodman) vorgestellt. Der Band beleuchtet damit eine in Deutschland bis heute unterschätzte, sehr facettenreiche Tradition ästhetischen Denkens. Da manche der behandelten Autoren (z.B. George Dickie) im deutschen Sprachraum kaum und andere (z.B. Richard Rorty) nicht als Ästhetiker (...) bekannt sind, sind die Beiträge als Einführungen in das ästhetische Denken jeweils eines Autors angelegt. (shrink)

James M. Robins, Richard Scheines, Peter Spirtes, and Larry Wasserman. The Limits of Causal Knowledge.

David Hume's relatively short essay 'Of the Standard of Taste' deals with some of the most difficult issues in aesthetic theory. Apart from giving a few pregnant remarks, near the end of his discussion, on the role of morality in aesthetic evaluation, Hume tries to reconcile the idea that tastes are subjective (in the sense of not being answerable to the facts) with the idea that some objects of taste are better than others. 'Tastes', in this context, are the pleasures (...) or displeasures that a person can take in the beauties of poems, paintings, and other artistic compositions (though Hume also wants to stress the continuities between tastes, so understood, and the bodily sense of taste). The position at which Hume arrives in the essay (despite some dialectical unclarity) is that some people – the 'true judges'– determine by their 'joint verdict' which works are meritorious. This solution continues to exercise a fascination, as does Hume's complicated route to it. Author Recommends: Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. This paper places 'Of the Standard of Taste' in an especially rich context, and asks why Hume concentrates on true judges instead of the improvement of one's own taste. Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon Press, 1984), 177–208. This chapter, embedded in an exposition of Mothersill's 'First Thesis' (the denial that there are principles of taste) and 'Second Thesis' (the affirmation that some judgments of taste are genuine judgments), gives a detailed running commentary on Hume's essay. A shorter self-contained version of the chapter appeared as 'Hume and the Paradox of Taste' in Aesthetics: A Critical Anthology , 2nd ed., eds. George Dickie, Richard Sclafani, and Ronald Roblin (New York, NY: St. Martin's Press, 1989, 269–86). Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. An importance recent article, Levinson's piece argues that the 'real' difficulty with Hume's essay has gone unnoticed: why should I care about what Hume's true judges think? Christopher Williams, 'Some Questions in Hume's Aesthetics', Philosophy Compass 2/2 (2007). This article provides a brief overview of the topics discussed under weeks 3–5 in the sample syllabus below. It is intended to provide a roadmap for the particular set of readings listed there. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. This is a stimulating paper in moral philosophy that treats Hume's essay on taste as a model for a serious subjectivism. Wiggins then presents his own brand of subjectivism as an alternative to Hume's. Online Materials: Hume's Aesthetics (Ted Gracyk): http://plato.stanford.edu/entries/hume-aesthetics/ Sample Syllabus: Recommended background reading on Hume's historical context: Peter Kivy, The Seventh Sense: Francis Hutcheson and Eighteenth-Century British Aesthetics , 2nd ed. (Oxford: Oxford University Press, 2003), especially Part III. Recommended background reading on the general topic of taste: David A. Whewell, 'Taste', Blackwell Companion to Aesthetics (Oxford: Blackwell, 1992), 415–18. Dabney Townsend and Carolyn Korsmeyer, 'Taste', Encyclopedia of Aesthetics , ed. Michael Kelly (New York, NY and Oxford: Oxford University Press, 1998), 4:355–62. Ted Cohen, 'The Philosophy of Taste: Thoughts on the Idea', Blackwell Guide to Aesthetics , ed. Peter Kivy (Oxford: Blackwell, 2004), 167–73. Week 1: Hume on beauty, art, and aesthetic judgment in the Treatise of Human Nature and the Enquiry Concerning the Principles of Morals The following references are usable for any complete edition of the Treatise or Enquiry Treatise , 2.1.8 ('Of Beauty and Deformity') Treatise , 2.2.5 ('Of Our Esteem for the Rich and Powerful') Treatise , 2.2.8 ('Of Malice and Envy'), final three paragraphs Treatise , 2.2.11 ('Of the Amorous Passion, or Love Betwixt the Sexes') Treatise , 3.1.2 ('Moral Distinctions Deriv'd from a Moral Sense') Treatise , 3.3.1 ('Of the Origin of the Natural Virtues') Treatise , 3.3.5 ('Some Farther Reflexions Concerning the Natural Virtues') Enquiry , Appendix 1 ('Of moral sentiment') Week 2: Hume's essays Essays Moral, Political, and Literary , ed. Eugene Miller (Indianapolis, IN: LibertyClassics, 1985) is the most commonly used edition today. 'Of the Delicacy of Taste and Passion' 'Of Eloquence' 'Of the Rise and Progress of the Arts and Sciences' 'Of Simplicity and Refinement in Writing' 'Of Tragedy' 'Of the Standard of Taste' Week 3: Circularity–Virtuous or Vicious? Peter Kivy, 'Hume's Standard of Taste: Breaking the Circle', British Journal of Aesthetics (1967): 57–66. David Wiggins, 'A Sensible Subjectivism?', Needs, Values, and Truth , 3rd ed. (Oxford: Clarendon Press, 1998), 185–214. Week 4: Rules of Art Mary Mothersill, 'Hume: "Of the Standard of Taste" ', Beauty Restored (Oxford: Clarendon, 1984), 177–208. James Shelley, 'Hume's Double Standard of Taste', Journal of Aesthetics and Art Criticism (1994): 437–45. Nick Zangwill, 'Hume, Taste, and Teleology', The Metaphysics of Beauty (Ithaca, NY: Cornell University Press, 2001), 149–65. Week 5: The True Judge Malcolm Budd, 'Hume and Kant', 'Hume's Standard of Taste', 'Hume and Human Nature', Values of Art (London: Allen Lane, 1995), 16–24 . Paul Guyer, 'The Standard of Taste and the "Most Ardent Desire of Society" ', Values of Beauty (Cambridge: Cambridge University Press, 2005), 37–76. Jerrold Levinson, 'Hume's Standard of Taste: The Real Problem', Journal of Aesthetics and Art Criticism (2002): 227–38. Week 6: Moralism in Aesthetic Judgment: Hume and Beyond Kendall Walton, 'Morals in Fiction and Fictional Morality', Proceedings of the Aristotelian Society (1994): 27–50. Richard Moran, 'The Expression of Feeling in Imagination', Philosophical Review (1994): 75–106. Tamar Szabo-Gendler, 'The Puzzle of Imaginative Resistance', Journal of Philosophy (2000): 55–81. Focus Questions 1. How does Hume distinguish between matters of 'fact' and 'sentiment'? 2. What is a 'rule of art', and are there any rules? 3. Can a bad critic be 'silenced'? 4. What are the characteristics of good critics? 5. Should we expect good critics to agree on the merits of a work, and should I care about becoming a good critic myself? 6. Is it possible to distinguish variations in taste for which we should expect a standard and variations for which it is 'vain' to have such an expectation? 7. How is the excellence of a work related to the exercise of taste? 8. If a work of literature has a moral outlook that differs from our own, should we consider the work defective on literary grounds? (shrink)

This paper concentrates on the issue of what happens to the confidence one has in the justification of one's belief when one discovers an epistemic peer with conflicting higher and/or lower order evidences. Certain symmetries surface during epistemic peer disagreement, which tend to make one less confident. The same happens in religious disagreements. Mostly externalist perspectives are considered. The epistemology of ordinary disagreements and that of religious ones behave similarly, such that principles used in the former can be seen to (...) apply also in the latter. (shrink)

In describing his seven and a half years as a prisoner of war in North Vietnam, the late Vice Admiral James B. Stockdale has said: "In that atmosphere of death and hopelessness, stripped of the niceties, the amenities of civilization, my ideas on life and leadership crystallized." Despite torture, intimidation, and isolation, Stockdale fulfilled his duties as senior officer among the prisoners with intelligence and courage, defining rules of conduct and maintaining morale. He often described the intense pressures of (...) that situation as a "melting" experience, in which preconceived feelings, fears, and bias melt as one comes to realize that, under the gun, you must grow or fail—or, in some cases, grow or die. This collection of his essays and speeches from the 1980s and 1990s reinforces how that experience formed a lifelong basis for his philosophical thought on issues of character, leadership, integrity, personal and public virtue, and ethics. The selections in this volume all reflect, in one way or another, a central theme: how man can rise with dignity to prevail in the face of adversity. (shrink)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

James Robert Ballantyne taught oriental languages in India for sixteen years, compiling grammars of Hindi, Sanskrit and Persian, along with translations of Hindu philosophy. In 1859, for the use of Christian missionaries, he prepared a guide to Hinduism, in English and Sanskrit. Published in two volumes in 1852, Synopsis of Science was intended to introduce his Indian pupils to Western science by using the framework of Hindu Nyaya philosophy, which was familiar to them and which Ballantyne greatly respected. Volume (...) 1 proceeds through a series of aphorisms exemplifying such topics as Western logic, the workings of the body, basic astronomy, geography, the action of liquids, pneumatics, acoustics and optics. Volume 2 includes coverage of arithmetic, algebra, chemistry, botany, zoology, mineralogy and geology. The second part of each volume is a Sanskrit translation. Overall, the work serves as an excellent primary source on the educational aspects of British imperialism. (shrink)

In this paper I argue for a computational theory of thinking that does not eliminate the mind. In doing so, I will defend computationalism against the arguments of John Searle and James Fetzer, and briefly respond to other common criticisms.

This paper attempts to examine some of Rorty’s recent writings on religious beliefs. Two claims stand at the core of these texts: (1) that religious beliefs are “private projects” and (2) that those who maintain such beliefs are not intellectually responsible for them because of their essentially private character. Other commentators on Rorty have challenged one or the other of these claims by utilizing resources outside the pragmatic tradition. But since Rorty typically allies himself with this tradition, I try to (...) examine both claims by employing the writings of two classical pragmatists, i.e., William James and John Dewey. I argue that neither James nor Dewey would accept the claims that stand at the core of Rorty’s view with respect to religious beliefs. In effect, Rorty’s thinking on religious beliefs marks a significant departure from his pragmatic forebears, even though he employs them (especially Dewey) to bolster his own position. (shrink)

_Lyotard and the Political_ is the first book to consider the full range of the political thought of the French philosopher François Lyotard and its broader implications for an understanding of the political. James Williams clearly and carefully traces the development of Lyotard's thought from his early Marxist essays on the Algerian struggle for independence to his break with the thought of Marx and Freud. This is compared with Lyotard's later, highly influental writings on the politics of desire and (...) his attempts to base a postmodern political discourse on the sublime. An indispensable work for all who are interested in modern continental philosophy, _Lyotard and the Political_ offers the first systematic analysis of the political dimension of the work of one of the most controversial and influential philosophers of the twentieth century. Also available in this series: _Lacan and the Political_ Pb: 0-415-17187-3: £12.99 _Heidegger and the Political_ Pb:0-415-13064-6: £12.99 _Derrida and the Political_ Pb: 0-415-10967-1: £13.99 _Nietzche and the Political_ Pb: 0-41510069-0: £12.99 _Foucault and the Political_ Pb: 0-415-10066-6: £12.99. (shrink)

"Off and on, of late years, I have studied the history and development of all religions with immense interest as being for me, at least, the most illuminating 'case histories' of the inner life of man."--Eugene O'Neill writing to M. C. Sparrow, 1929 While it is commonly accepted that Eu­gene O'Neill studied Oriental mystical religions and that this study may be detected in some of his less successful experimental plays (Lazarus Laughed, The Fountain, Marco Millions) there has not been an (...) effort to con­sider systematically his "immense interest" and the influence it had on O'Neill's thought and writing. Robinson explores the tension between Occidental and Oriental elements in the playwright's art, examining both the sources of the conflict and its manifestation in selected plays written between 1916and 1942. Through an examination of O'Neill's cor­respondence, research library, and manuscript materials (some of which have pre­viously been unavailable for study) Robinson is able to reveal the origins of O'Neill's Ori­entalism. An easy familiarity with the com­plex interrelationships of Eastern and West­ern religions and the Oriental thought that underlies the ideas of many Western philoso­phers, allows Robinson to address the in­tricate problem of Oriental influences on O'Neill's favorite Western sources, including Nietzsche, Schopenhauer, Jung, Strindberg, and Emerson. Finally in a play-by-play exegesis, Robin­son traces the course of O'Neill's mysticism from its apparent repudiation in the deeply flawed Dynamo to its synthesis in The Iceman Cometh, Long Day's Journey Into Night, and Hughie, where Eastern ideas of maya, dy­namic polarity, and the emptiness of the uni­verse are again evident. (shrink)

We sketch an axiomatic reformalization of Generalized Phrase StructureGrammar (GPSG) – a definition purely within the language ofmathematical logic of the theory GPSG embodies. While this treatment raisesa number of theoretical issues for GPSG, our focus is not thereformalization itself but rather the method we employ. The model-theoreticapproach it exemplifies can be seen as a natural step in the evolution ofconstraint-based theories from their grammar-based antecedents. One goal ofthis paper is to introduce this approach to a broader audience and todemonstrate (...) its application to an existing theory. As such, it joins agrowing literature of similar studies. Prior studies, however, have had anumber of weaknesses – they generally offer little in the way ofconcrete examples of the advantages the approach has to offer, theytypically ignore significant portions of the theories they address, and, byfully abstracting away from the notion of grammar mechanism, they largelyabandon the possibility of establishing meaningful complexity results. Thesecond goal of the paper is to address these issues. Our thrust is to sketchthe reformalization sufficiently to illustrate the way in which it capturesFeature Specification Defaults (FSDs) and the Exhaustive Constant PartialOrdering (ECPO) property. Our definition of FSDs is considerably simplifiedrelative to the original formalization and is free of the procedural flavorthat has led some to assume that FSDs are inherently dynamic. Our treatmentof ECPO uncovers a gap in its definition in the context of partialcategories that has heretofore gone unnoticed. We offer these as ademonstration of the kind of insight that a model-theoretic reinterpretationcan bring to an existing theory. Further, since these are the types ofproperties that prior studies in this genre have failed to address, FSDs andECPO provide a means for us to explore the limitations of these approachesand to offer ways of overcoming them. Finally, the logical framework weemploy has a well defined generative capacity – definability in thisframework characterizes strong context-freeness in a particular sense. Thus,despite being more abstract than its constraint-based predecessors, themodel-theoretic approach, as exemplified here, can offer stronger complexityresults than are typically available in the constraint-based framework. (shrink)