Some may be of the opinion that one event can begin before another only by virtue of the existence of some event (a “witness”) which wholly precedes the other and does not wholly precede the one (and similarly for “ends before” and “does not abut”). Those would prefer $\mathbb{F}$ 0 to $\mathbb{F}$ as a model for observers' apprehensions of events. Since G is a functor from $\mathbb{M}$ to $\mathbb{F}$ 0, the current construction (restricted to $\mathbb{F}$ 0) remains applicable.This work supports (...) a claim that the psychologically fundamental temporal relationships are “wholly precedes”, “begins before”, “ends before” and “abuts”. But only in a very weak sense. Any other set of relationships which is interdefinable with this one, using only quantifier-free formulas in the definitions, could be used to define a category $\mathbb{F}$ ′ which is indistinguishable from $\mathbb{F}$ (because the same functions preserve and reflect the new relationships). This work equally supports the claim that those relationships are the psychologically fundamental ones, or the claim that it is just “wholly precedes” which is fundamental, and that we perceive “begins before” just by virtue of witnesses. But it refutes the claim that only “wholly precedes” is fundamental, and that we understand “begins before” only because we understand time as a linear ordering. (shrink)

This volume is a collection of S.K. Chakraborty's papers on the east-west distinction in worldviews. The essays are reflective and deliberate upon philosophical diferences and attitudes of thinkers that have shaped the behavior of the common man, both in and out of the workplace.

In lieu of an abstract, here is a brief excerpt of the content:Art's DetourA Clash of Aesthetic TheoriesS. K. Wertz (bio)Both John Dewey1 and Martin Heidegger2 thought that art's audience had to take a detour in order to appreciate or understand a work of art. They wrote about this around the same time (mid-1930s) and independently of one another, so this similar circumstance in the history of aesthetics is unusual since they come from very different philosophical traditions. What was it (...) about the climate of the times that led them to such an idea? Is it still viable today? Both philosophers thought that art's audience is not in a position to immediately appreciate works of art—that we are missing something for a direct appreciation or apprehension—so we must take a detour. Why the detours and what are they? Are the detours similar? And are Dewey and Heidegger right about this? The essay that unfolds below attempts to answer these questions.First a definition is in order so we know what the term "detour" means when I use it. What is a detour? It is a deviation from a direct course or the usual procedure; a roundabout way temporarily replacing part of a route; in other words, a bypass or a roundabout way to some destination. The Little Oxford Dictionary adds a different twist on my characterization: "a course that leaves and rejoins [the] direct route."3 Applying this idea to art, we can say that a detour describes an audience who ordinarily perceives an artwork is a legitimate beginning for an appreciation of it, but that course must be bypassed for another (conception) before it can rejoin the direct route (perception). In other words, perceptions in the aesthetic experience must be aided by conceptions—a decidedly Kantian stance taken by Dewey and Heidegger. Their illustrations make my interpretation plausible.One of Heidegger's examples is Van Gogh's painting of a pair of peasant boots.4 He selects this painting to illustrate his metaphysics, which centers around the notion of "equipment." Peasant boots are equipment in [End Page 100] the sense that they are worn or used; the mere thing (like shoes or boots in a store [exhibited] or a closet [in storage]) disappears in use and becomes equipment. Between equipment and mere things—these two categories of being—are artworks. They are pictorial representations of equipment (in Heidegger's illustration; a pair of shoes as mere things could be a pictorial representation, like an advertisement, but it wouldn't be the same). Through the painted boots, a world comes into focus—a network of meaning. The world Heidegger sees in the Van Gogh painting is captured in the following descriptions: "In the vicinity of the [art]work we were suddenly somewhere else than we usually tend to be…. The art work let us know what shoes are in truth" (ATCR 233). So the nature of art is still a question about the nature of representation for Heidegger: it is what the shoes disclose to us about human existence. As he says, it is not just merely a pair of shoes portrayed but shoes "from the dark opening of the worn insides … the toilsome tread of the worker stares forth" (ATCR 232). In other words, we see the difficult labor that this particular owner toiled with in her daily chores.In Tralbaut's book, he quotes Heidegger in a caption alongside the painting: "Engraving in the intimate obscurity of the hollow of a boot is the weariness of the steps of work. The rough and solid weight of the clog tells of the slow and obstinate trudge across the fields."5 Heidegger continues in the same vein:In the stiffly rugged heaviness of the shoes there is the accumulated tenacity of her slow trudge through the far-spreading and ever-uniform furrows of the field swept by a raw wind. On the leather lie the dampness and richness of the soil. Under the soles slides the loneliness of the field-path as evening falls. In the shoes vibrates the silent call of the earth, its quiet gift of the ripening grain and its unexplained self-refusal in the fallow desolation of... (shrink)

How does aesthetic education begin and expand over time? David Hume’s idea of the narrow circle provides us with an answer when considering this question. He uses the narrow circle to explain how moral practices evolve, and by analogy, we can also use this conception to explain how aesthetic practices evolve. So I will first of all begin with a discussion of his essay “The Standard of Taste.”1 In this essay, Hume gives an excellent profile of the critic who has (...) the traits to generate the standard of taste: delicacy of taste or a delicate imagination; practice in a particular art; ability to make comparisons, free from prejudice; and good sense in exercising the former traits. He says that few are qualified... (shrink)

This article investigates whether acts of plagiarism are predictable. Through a deductive, quantitative method, this study examines 517 students and their motivation and intention to plagiarize. More specifically, this study uses an ethical theoretical framework called the Theory of Reasoned Action and Planned Behavior to proffer five hypotheses about cognitive, relational, and social processing relevant to ethical decision making. Data results indicate that although most respondents reported that plagiarism was wrong, students with strong intentions to plagiarize had a more positive (...) attitude toward plagiarizing, believed that it was important that family and friends think plagiarizing is acceptable, and perceived that plagiarizing would be an easy task. However, participants in the current study with less intention to plagiarize hold negative views about plagiarism, do not believe that plagiarism is acceptable to family, friends or peers, and perceive that the act of plagiarizing would prove difficult. Based on these findings, this study considers implications important for faculty, librarians, and student support staff in preventing plagiarism through collaborations and outreach programming. (shrink)

R. G. Collingwood (1889–1943) had several arguments that analyzed race in history and anthropology. These appear mainly in Roman Britain (both in theory and practice of history), The Idea of History, and The Principles of History. This latter work, which is fairly new to Collingwood scholarship (1999), contains the most important arguments. Collingwood argued that race is grounded in the historical process and this includes a people's environment, more so than genetics or evolution. He used the nature of art as (...) an example in his main argument. This spills over in his view of anthropology—in particular physical anthropology that was influenced by John Beddoe. His view is contrasted with Claude Lévi-Strauss who held that physical anthropology is at the forefront of social or cultural anthropology which follows its lead. Whereas Collingwood held that in studying blood types, skulls, and bones, 'one does not get inside the object or recreate its object inside itself.' Consequently, cultural anthropology will always provide the key to racial considerations. What is revealed is that emotions and rationality are the same across cultures; also, that superiority/inferiority claims about race are mythical and lead us into darkness and superstition. (shrink)

CHAPTER ONE Paving a Way for a Treatise Identity Those who are not of the philosophical persuasion may find it surprising that the Self appears to be such ...

Jean-François Revel is the first philosopher to take food seriously and to offer a topology for food practices. He draws a distinction between different kinds of cuisine -- popular (regional) cuisine and erudite (professional) cuisine. With this distinction, he traces the evolution of food practices from the ancient Greeks and Romans, down through the Middle Ages, and into the Renaissance and the Modern Period. His contribution has been acknowledged by Deane Curtin who offers an interpretation of Revel’s conceptual scheme along (...) Platonic lines. In this essay the author reviews Curtin’s interpretation, finds it wanting in certain respects, and develops an alternative reading of Revel along Hegelian lines. This interpretation, the author believes, does greater justice to Revel’s topology for food practices. (shrink)

By focusing on the known details of Laonikos Chalkokondyles’ biography, on his relation to Byzantine historiographical tradition, by comparing his historical work to that of contemporary intellectuals living under the Ottomans as well as those in the west, examining his portrayal of Mehmed II, his adoption of a Herodotean model, the revival of Herodotus in the Renaissance more generally, and the reception of the ᾿Aπόδειξις in the fifteenth and sixteenth centuries, I argue that Laonikos was writing for an elite circle (...) of Byzantine émigrés and other intellectuals with access to classical Greek in the west, rather than for the post- Byzantine intellectuals associated with the Ottoman court. (shrink)

There seems to exist a dilemma in the literature as to the correct relativistic formula for the Sagnac phase-shift. The paper addresses this issue in the light of a novel, kinematically equivalent linear Sagnac-type thought experiment, which provides a vantage point from which the effect of rotation in the usual Sagnac effect can be analyzed. The question is shown to be related to the so-called rotating disc problem known as the Ehrenfest paradox. The relativistic formula for the Sagnac phase-shift seems (...) to depend on the way the paradox is resolved. Kinematic resolution of the Ehrenfest paradox proposed by some authors predicts the usually quoted formula for the Sagnac delay but the resolution itself is shown to be based upon some implicit assumptions regarding the behaviour of solid bodies under acceleration. In order to have a greater insight into the problem, a second version of the thought experiment involving linear motion of a “special type” of a non-rigid frame of reference is discussed. It is shown by analogy that the usually quoted special relativistic formula for the Sagnac delay follows, provided the material of the disc matches the “special type.”. (shrink)

This volume brings together essays that discuss and contextualise Gandhi's ideas on pluralism, religious identity, non-violence, satyagraha, and modernity. It interrogates the epistemic foundations of Gandhian thinking and weltanschauung, identifies diverse strands within his arguments, and gives it new meaning in contemporary society. This book focuses on Gandhi's engagements with religious, political, and social conflicts; his reflections on faith and modernity; and his argumentative dialogues with Mohammad Ali Jinnah and B. R. Ambedkar. It provides critical insights into Gandhi's philosophy and (...) suggests ways of engaging with his ethical and moral ideas in contemporary intellectual and political discourse. Comparing and contrasting Gandhian thought and strategies with contemporary issues and conceptions of religious freedom, conflict resolution, and liberalism, the volume reformulates and reconstitutes his intellectual and political legacy. This book points to new and possible future directions of research on Gandhian concepts and will be useful for scholars in the fields of political science, Gandhian studies, sociology, and philosophy. (shrink)

The notion of a harmonious universe was taught by Pythagoras as early as the sixth century BC, and remained a basic premise in Western philosophy, science, and art almost to our own day. In Touches of Sweet Harmony, S. K. Heninger first recounts the legendary life of Pythagoras, describes his school at Croton, and discusses the materials from which the Renaissance drew its information about Pythagorean doctrine. The second section of the book reconstructs the many facets of this doctrine, and (...) the final section shows its influence on Renaissance poetics. Professor Heninger's magisterial work introduces the reader not only to Pythagoras but to a host of other classical, medieval, and Renaissance figures as well--from Plato and Aristotle through St. Augustine and Macrobius down to Sidney and Spenser. (shrink)

A summary view of the main evidence at our disposal may be soon obtained. Three traditions appear at the outset. The first depends on a MS. once at Mainz, and now no longer extant, but of which part, at any rate, still existed in the sixteenth century; the second on an eleventh century MS. at Bamberg; and the third on a number of later MSS. in Rome, Florence, Paris, the British Museum, Oxford, Holkham, and other places. The fact that these (...) three traditions must be regarded as separate may be seen first from the parts of the decade which they each omit. (shrink)

I examine Nagarjuna’s averting an opponent’s argument, Paul Sagal’s general interpretation of Nagarjuna and especially Sagal’s conception of "averting" an argument. Following Matilal, a distinction is drawn between locutionary negation and illocationary negation in order to avoid errant interpretations of verse 29 The argument is treated as representing an ampliative or inductive inference rather than a deductive one. As Nagarjuna says in verse 30: "That [denial] of mine [in verse 29] is a non-apprehension of non-things" and non-apprehension is the averting (...) of arguments or "the relinquishing of all views." "Not making a proposition P" would be not speaking P or silence with regard to P and, as Sagal argues, not meaning a global linguistic silence. Such an interpretation would lead to attributing wholesale irrationalism to Nagarjuna-something I wish to avoid. (shrink)

THIS ESSAY DEALS WITH D F NORTON’S INTERPRETATION OF HUME’S METHODOLOGY IN THE LATTER’S FAMOUS DISCUSSION OF MIRACLES IN THE FIRST INQUIRY. NORTON CONSTRUES "EXPERIENCE" TO MEAN PERSONAL, INDIVIDUAL EXPERIENCE. THE AUTHOR SHOWS THAT THERE IS ANOTHER SENSE OF THE WORD WHICH IS MORE COSMOPOLITAN AND ONE WHICH SQUARES MORE WITH THE USES OF EVIDENCE FOUND IN THE "HISTORY OF ENGLAND". ALTERNATIVE INTERPRETATIONS OF THE HUME PASSAGE ARE GIVEN AND HUME’S METHOD IS COMPARED WITH R G COLLINGWOOD’S IMAGINATIVE RECONSTRUCTIONIST IDEA (...) OF HISTORY. (shrink)