Is jealousy eliminable? If so, at what cost? What are the connections between pride the sin and the pride insisted on by identity politics? How can one question an individual's understanding of their own happiness or override a society's account of its own rituals? What makes a sexual desire "perverse," or particular sexual relations undesirable or even unthinkable? These and other questions about what sustains and threatens our identity are pursued using the resources of philosophy, psychoanalysis, and other disciplines. The (...) discussion throughout is informed and motivated by the Spinozist hope that understanding our lives can help change them, can help make us more free. (shrink)

Our research addresses the issue of teaching and learning concepts in science education as an empirical question. We study the process of conceptualization by closely examining the unfolding of classroom lesson sequences. We situate our work within the practice turn line of research on epistemic practices in science education. We also adopt a practice turn approach when it comes to the learning of concepts, as we consider conceptualization as being inherent within epistemic practices. In our work, pedagogical practices are modeled (...) as learning games and epistemic practices in science education are characterized as enacted epistemic games emerging through the unfolding of learning games. Science practices are modeled as source epistemic games since they are the source of the knowledge at stake in pedagogical practices. From this point, we examine closely how playing learning games can enable students to play enacted epistemic games and then in turn the source epistemic games at the core of conceptual understanding. Thus, the main contribution of this paper is to link pedagogical practices to epistemic practices in science education and to science practices in general. Our method is consistent with this epistemological framework as our case study on the concept of earthquakes in a 5th grade classroom sequence illustrates. Following an investigation of two experienced teachers and their classes during a teaching unit, our analysis shows how teaching effectiveness is determined by a dialectic. This entails on the one hand a didactic continuity between learning games and enacted epistemic games and, on the other, an epistemic continuity between enacted epistemic games and source epistemic games. (shrink)

This guide accompanies the following article: Matthew Kieran, ‘Art, Morality and Ethics: On the (Im)moral Character of Art Works and Inter‐Relations to Artistic Value’. Philosophy Compass 1/2 (2006): pp. 129–143, doi: 10.1111/j.1747‐9991.2006.00019.x Author’s Introduction Up until fairly recently it was philosophical orthodoxy – at least within analytic aesthetics broadly construed – to hold that the appreciation and evaluation of works as art and moral considerations pertaining to them are conceptually distinct. However, following on from the idea that artistic value is (...) broader than aesthetic value, the last 15 years has seen an explosion of interest in exploring possible inter‐relations between the appreciative and ethical character of works as art. Consideration of these issues has a distinguished philosophical history but as the Compass survey article suggests (‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43), it is only very recently that figures in the field have returned to it to develop more precisely what they take the relationships to be and why. Consensus is, unsurprisingly, lacking. The reinvigoration of the issues has led sophisticated formalists or autonomists to mount a more considered defence of the idea that aesthetic and literary values are indeed conceptually distinct from the justification or otherwise of the moral perspective or views endorsed in a work (Topic I). The challenges presented by such a defence are many but amongst them are appeals to critical practice (Lamarque and Olsen), scepticism about whether or not art really can give us bona fide knowledge (Stolnitz) and the recognition that truth often seems to be far removed from what it is we value in our appreciation of works (Lamarque). One way to motivate consideration of the relevance of a work’s moral character to its artistic value concerns the phenomena of imaginative resistance. At least sometimes it would seem that, as Hume originally suggested, we either cannot or will not enter imaginatively into the perspective solicited by a work due to its morally problematic character (Topic II). In some cases, it would seem that as a matter of psychological fact, we cannot do so since it is impossible for us to imagine how it could be that a certain attitude or action is morally permissible or good (Walton). The question then is whether or not this is a function of morality in particular or constraints on imaginative possibility more generally and what else is involved. At other times, the phenomena seem to be driven by a moral reluctance to allow ourselves to enter into the dramatic perspective involved (Moran) or evaluation of the attitude expressed (Stokes). Nonetheless, it is far from obvious that this is so of all the attitudes or responses we judge to be morally problematic. After all, it looks like we can and indeed often do suspend or background particular cognitive and moral commitments in engaging with all sorts of works (Nichols and Weinberg). If the moral character of a work interacts with how we appreciate and evaluate them, then the pressing question is this: is there any systematic account of the relationship available to us? One way is to consider the relationship between our emotional responses to works and their moral character (Topic III). After all, art works often solicit various emotional responses from us to follow the work and make use of moral concepts in so doing (Carroll). Indeed, whether or not a work merits the sought for emotional responses often seems to be internally related to ethical considerations (Gaut). Yet, it is not obvious that we should apply our moral concepts or respond emotionally in our imaginative engagement with works as art as we should in real life (Kieran, Jacobson). A different route is via the thought that art can convey knowledge (Topic IV). There might be particular kinds of moral knowledge art distinctively suited to conveying (Nussbaum) or it may just be that art does so particularly effectively (Carroll, Gaut, Kieran). Either way where this can be tied to the artistic means and appreciation of a work it would seem that to cultivate moral understanding contributes to the value of a work and to betray misunderstanding is a defect. Without denying the relevance of the moral character of a work some authors have wanted to claim that sometimes the immoral aspect of a work can contribute to rather than lessen its artistic value (Topic V). One route is to claim that there is no systematic theoretical account of the relationship available and what the right thing to say is depends on the particular case involved (Jacobson). Another involves the claim that this is so when the defect connects up in an appropriate way to one of the values of art. Thus, it has been claimed, only where a work reveals something which adds to intelligibility, knowledge or understanding in virtue of its morally problematic aspect can this be so (Kieran). The latter position looks like it could in principle be held whilst nonetheless maintaining that the typical or standard relationship is as the moralists would have it. Yet perhaps allowing valence change for such reasons is less a mark of principled explanation and more a function of downright inconsistency or incoherence (Harold). The topics themselves and suggested readings given below follow the structure articulated above as further amplified in the Compass survey article. The design and structure given below can be easily compressed or expanded further. Author Recommends 1 Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 126–60. 2 This article develops the idea that engaging with narrative art calls on moral concepts and emotions and can thereby clarify our moral understanding. 2 Carroll, Noël. Beyond Aesthetics: Philosophical Essays. Cambridge: Cambridge UP, 2009. 4 Part IV consists of six distinct essays on questions concerning the inter‐relations between art and morality including the essay cited above and the author’s articulation and defence of moderate moralism. 3 Gaut, Berys. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. 4 Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. 7 This monograph provides the most exhaustive treatment of the issues and defends the claim that, where relevant, whenever a work is morally flawed it is of lesser value as art and wherever it is morally virtuous the work’s value as art is enhanced. Chapters 7 and 8 defend concern ethical knowledge and chapter 10 is a development of the article cited above concerning emotional responses. Chapter 3 also gives a useful conceptual map of the issues and options in the debate. 5 Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. 9 A wide ranging and extended treatment of relevant issues which objects to generalising moral treatments of our responses to art works and defends the idea that particular works can be better because of rather than despite their moral defects. 6 Kieran, Matthew. ‘Forbidden Knowledge: The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. 11 A general argument for immoralism is elaborated by outlining when, where and why a work’s morally problematic character can contribute to its artistic value for principled reasons (through enhancing moral understanding). 7 Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. 13 This chapter argues against both aestheticism and straightforward moralism about art, elaborating a defence of immoralism in relation to visual art whilst ranging over issues from pornographic art to the nature and demands of different genres in art. 8 Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’ Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. 15 This article concisely outlines and defends a sophisticated aestheticism that denies the importance of truth to artistic value. 9 Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. 17 This article articulates and defends the claim that no knowledge of any interesting or significant kind can be afforded by works appreciated and evaluated as art. 10 Walton, Kendall. ‘Morals in Fiction and Fictional Morality, I.’Proceedings of the Aristotelian Society, Suppl. 68 (1994): 27–51. 19 This article builds on some comments from Hume to develop the idea that when engaging with fictions it seems impossible imaginatively to enter into radically deviant moral attitudes. Online Materials ‘Aesthetics and Ethics: The State of the Art.’American Society of Aesthetics online (Jeffrey Dean):. ‘Art, Censorship and Morality’ downloadable podcast of Nigel Warburton interviewing Matthew Kieran at Tate Britain (BBC/ou Open2.net as part of the Ethics Bites series):. ‘Art, Morality and Ethics: On the (Im)Moral Character of Art Works and Inter‐Relations to Artistic Value.’Philosophy Compass 1.2 (2006): 129–43 (Matthew Kieran):. ‘Ethical Criticism of Art.’Internet Encyclopedia of Philosophy (Ella Peek):. ‘Fascinating Fascism.’New York Review of Books Piece Discussing Leni Riefenstahl (Susan Sontag):. ‘The Beheading of St. John the Baptist (1450s), Giovanni de Paolo’ (Tom Lubbock):. Vladimir Nabokov and Lionel Trilling discuss Lolita (CBS):. Sample Syllabus Topic I Autonomism/aestheticism • Anderson, James C. and Jeffrey T. Dean. ‘Moderate Autonomism.’British Journal of Aesthetics 38.2 (1998): 150–66. • Beardsley, Monroe. Aesthetics: Problems in the Philosophy of Criticism. New York: Harcourt, Brace and World, 1958. Chapter 12. • Kant, Immanuel. The Critique of Judgement.Trans. James Creed Meredith. Oxford: Oxford UP, 1952 [1790]. • Lamarque, Peter. ‘Cognitive Values in the Arts: Marking the Boundaries.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006, 127–39. • ——. ‘Tragedy and Moral Value.’Australasian Journal of Philosophy 73.2 (1995): 239–49. • Lamarque, Peter and Stein Olsen. Truth, Fiction and Literature. Oxford: Clarendon Press, 1994. Chapter 10. • Stolnitz, Jerome. ‘On the Cognitive Triviality of Art.’British Journal of Aesthetics 32.3 (1992): 191–200. Topic II Imaginative Capacities, Intelligibility and Resistance • Moran, Richard. ‘The Expression of Feeling in Imagination.’Philosophical Review 103.1 (1994): 75–106. • Nichols, Shaun. ‘Just the Imagination: Why Imagining Doesn’t Behave Like Believing’. Mind & Language 21.4 (2006): 459–74. • Stokes, Dustin. ‘The Evaluative Character of Imaginative Resistance’. British Journal of Aesthetics 46.4 (2006): 387–405. • Tanner, Michael. ‘Morals in Fiction and Fictional Morality, II’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 51–66. • Walton, Kendall (1994). ‘Morals in Fiction and Fictional Morality, I’. Proceedings of the Aristotelian Society, Suppl. Vol. 68 (1994): 27–51. • Weinberg, Jonathan. ‘Configuring the Cognitive Imagination.’New Waves in Aesthetics. Eds. K. Stock and K. Thomson‐Jones. London: Palgrave Macmillan, 2008. 203–23. Topic III Moralism and Emotions • Carroll, Noël. ‘Moderate Moralism.’British Journal of Aesthetics 36.3 (1996): 223–37. • Carroll, Noël. ‘Art, Narrative and Moral Understanding.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998.126–60. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapter 10. • ——. ‘The Ethical Criticism of Art.’Aesthetics and Ethics: Essay at the Intersection. Ed. Jerrold Levinson. Cambridge: Cambridge UP, 1998. 182–203. • Hume, David. ‘Of the Standard of Taste.’Selected Essays. Oxford: Oxford UP, 1993 [1757]. 133–53. • Kieran, Matthew. ‘Emotions, Art and Immorality.’Oxford Handbook to the Philosophy of Emotions. Ed. Peter Goldie. Oxford: Oxford UP, 2009. 681–703. • Tolstoy, Leo. What is Art?. London: Penguin, 2004. Chapters 5 and 15. Topic IV Moralism and Knowledge • Aristotle. Poetics. Trans. M. Heath. London: Penguin, 1996 [367–322 BC]. • Carroll, Noël. ‘The Wheel of Virtue: Art, Literature and Moral Knowledge.’Journal of Aesthetics and Art Criticism 60.1 (2002): 3–26. • Gaut, Berys. Art, Emotion and Ethics. Oxford: Oxford UP, 2007. Chapters 7 and 8. • Gaut, Berys. ‘Art and Cognition.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 115–26. • Kieran, Matthew. ‘Art, Imagination and the Cultivation of Morals.’Journal of Aesthetics and Art Criticism 54.4 (1996): 337–51. • Nussbaum, Martha. ‘Finely Aware and Richly Responsible: Literature and the Moral Imagination.’Love’s Knowledge. New York: Oxford UP, 1990. 148–68. • Plato. The Republic. Trans. D. Lee. Harmondsworth: Penguin, 1974. Book 10. Topic V Immoralist Contextualism • Harold, James. ‘Immoralism and the Valence Constraint.’British Journal of Aesthetics 48.1 (2008): 45–64. • Jacobson, Daniel. ‘In Praise of Immoral Art.’Philosophical Topics 25 (1997): 155–99. • ——. ‘Ethical Criticism and the Vices of Moderation.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 342–55. • John, Eileen. ‘Artistic Value and Moral Opportunism.’Contemporary Debates in Aesthetics and the Philosophy of Art. Ed. Matthew Kieran. Oxford: Blackwell, 2006. 331–41. • Kieran, Matthew. ‘Forbidden Knowledge:The Challenge of Cognitive Immoralism.’Art and Morality. Ed. Sebastian Gardner and José Luis Bermúdez. London: Routledge, 2003. 56–73. • Kieran, Matthew. Revealing Art. London: Routledge, 2005. Chapter 4. • Patridge, Stephanie. ‘Moral Vices as Artistic Virtues: Eugene Onegin and Alice.’Philosophia 36.2 (2008): 181–93. Focus Questions 1 What is the strongest argument for the claim that the moral character of a work is not relevant to its artistic value? Does artistic or literary criticism tend to concern itself with the truth or morality of works? If so, in what ways? If not, why do you think this is? 2 What different explanations might there be for difficulty with or resistance to imaginatively entering into attitudes you take to be immoral? How might this relate to the way our imaginings work as contrasted with belief? How might different literary or artistic treatments of the same subject matter make a difference? 3 How do narrative works draw on our moral concepts and responses? Can we suspend our normal moral commitments or application of moral concepts in responding emotionally to art works? Should we respond emotionally to art works as we ought to respond to real world events we witness? Why? Why not? 4 How, if at all, do art works convey moral understanding? How, if at all, is this related to the kinds of moral knowledge art works can teach or reveal to us? When, where and why might this be tied to the artistic value of a work? How can we tell where a work enhances our moral understanding as opposed to misleading or distorting it? 5 What art works do you value overall as art which commend or endorse moral values and attitudes that you do not? Is appreciation of them always marred or lessened by the morally dubious aspect? If not, what explains the differences in evaluation? What, if anything, might you learn by engaging with works which endorse moral attitudes or apply moral concepts different from those you take to be justified? How, if at all, might this connect up with what makes them valuable as art? (shrink)

The ecology of fear has become a common rhetoric in efforts to support climate mitigation. The thesis of the collapse is an extreme version, asserting the inevitable collapse of the world. Fear, then, becomes the ultimate emotion for spurring action. In this article, drawing on the work of the pragmatist John Dewey, we show that fear is an ambiguous emotion. Dewey stressed the quality of an emotion. Following his reasoning, this article draws a distinction between intense and moderate fear. Intense (...) fear annihilates action, while moderate fear fulfils the conditions for an emotion of quality (in the Deweyan sense), which enables action. For this reason, the thesis of the collapse must be rejected, while an ecology of fear, drawing on moderate fear, may be maintained. (shrink)

The development of the CRISPR/Cas9 gene editing system has generated new possibilities for the use of gene drive constructs to reduce or suppress mosquito populations to levels that do not support disease transmission. Despite this prospect, social resistance to genetically modified organisms remains high. Gene drive open field research thus raises important questions regarding what is owed to those who may not consent to such research, or those could be affected by the proposed research, but whose consent is not solicited. (...) The precise circumstances under which informed consent must be obtained, and from whom, requires careful consideration. Furthermore, appropriate engagement processes should be central to any introduction of genetically modified mosquitos in proposed target settings. In this work, international guidance documents on informed consent and engagement are reviewed and applied to the genetically modified mosquito research context. Five analogous research endeavours that involve area-wide / open field experiments are reviewed. The approach of each in respect to the solicitation of individual informed consent and community engagement are highlighted. While the solicitation of individual informed consent in host settings of gene drive field trials may not be possible or feasible in some instances, local community and stakeholder engagement will be key to building trust towards the proposed conduct of such research. In this regard, the approaches taken by investigators and sponsors of political science field research and weather modification field research should be avoided. Rather, proponents of gene drive field research should look to the Eliminate Dengue field trials, cluster randomised trials, and pragmatic clinical trials for guidance regarding how the solicitation of individual informed consent of host communities ought to be managed, and how these communities ought to be engaged. (shrink)

The general aim of this volume is to investigate the nature of the relation between pictorial experience and aesthetic appreciation. In particular, it is concerned with the character and intimacy of this relationship: is there a mere causal connection between pictorial experience and aesthetic appreciation, or are the two relata constitutively associated with one another? The essays in the book's first section investigate important conceptual issues related to the pictorial experience of paintings. In Section II, the essays discuss the notion (...) of styles, techniques, agency, and facture, and also take into account the experience of photographic and cinematic pictures. The Pleasure of Pictures goes substantially beyond current debates in the philosophy of depiction to launch a new area of reflection in philosophical aesthetics. (shrink)

Notre article consiste en une étude talmudique à propos du messianisme. Nous analysons en particulier une double difficulté. La première consiste dans le nouage obscur que le Talmud suggère entre des éléments intimes de la subjectivité humaine et l’advenue collective globale, de nature politique, d’un dépassement de la société mercantile inégalitaire. La deuxième concerne l’élaboration de cette subjectivité, que l’on peut dire paradoxale, puisqu’elle conjoint une forme de désespoir de la délivrance à une attente renouvelée. Notre approche s’inscrit dans la (...) continuité des lectures talmudiques d’Emmanuel Levinas, en ce qu’elle n’est pas historique, mais cherche à proposer la constitution d’une pensée féconde pour notre modernité. (shrink)

Le présent article traite des questions en anglais suivant une approche qui s'inscrit dans le cadre de la linguistique cognitive. Les principaux types de question y sont discutés, ainsi que les diverses structures au moyen desquelles elles sont exprimées : propositions interrogatives indépendantes fermées et ouvertes, question tags, questions déclaratives, questions-répliques et questions indirectes. L'intonation des questions, l'inversion sujet-auxiliaire et le rôle de l'auxiliaire do font partie des points abordés. La distinction, parfois délicate, entre les propositions subordonnées interrogatives et les (...) constructions relatives dites libres est également discutée. Les diverses structures analysées sont envisagées comme des instances de constructions symboliques, dotées à la fois de propriétés formelles et sémantiques-pragmatiques. Considérée sous cet angle, la grammaire n'est pas indépendante du sens mais apparaît, tout au contraire, fondamentalement signifiante et motivée. (shrink)

I thought that I knew Adam Smith. Apparently not! "The political economy of the USA today is based on a laissez-faire interpretation of his Wealth of Nations," which, according to John E. Hill, "grossly distorts Smith's ideas." Furthermore, "correctly interpreting" Smith's thought would lead to greater happiness in all capitalistic political economic systems". The general slant of this book is that gross misinterpretations of Smith's theory of market capitalism have been used to justify the destruction of the moral standards on (...) which market capitalism depends. In other words, market capitalism requires a moral infrastructure or foundation, which has been eroded by Smith's recent... (shrink)

Cet article retrace une étape essentielle dans l'histoire de la télévision européenne de service public : la transformation des représentations de son public - d'un public avide de savoir, à la fois de droite et de gauche, elle est passée à un public populaire qui vient en nombre chercher le loisir immédiat, une nouvelle forme de la «populace» d'Ancien Régime. Ce changement a précédé la mesure d'audience qui l'incarne et le confirme aujourd'hui. Le passage d'un public à l'autre pose un (...) défi à la pensée de la culture populaire, emprisonnée l'élitisme traditionnel, le néo-élitisme «de gauche» qui s'avance masqué , un néo-populisme qui donne le primat au texte et un déni du public populaire traité comme une fiction . Contre une pensée globale du populaire qui traite ensemble « le » public populaire et « la » télévision, il faut dépasser les hiérarchies culturelles implicitement ou explicitement à l'oeuvre dans les paradigmes dominants.This article recalls a major episode in the history of European public service television: the transformation of the representations of the public - from a "popular" audience, eager to be educated which came both from the right and the left, which still had a revolutionary people in view, the public became a popular audience eagerly seeking disreputable leisure in throngs: a return of the Ancient Regime's rabble. This episode constitues a challenge for theories of popular culture, all too often imprisonned traditional elitism, neo-elitism which claims than a non manipulated popular audience would have a "better taste", a neo-elitism, a neo-populism which rehabilitates the popular audience by dissolving it into the texts , and finally a denial of popular audiences treated as a "fiction" . Against a global view of television and its audience, it is necessary to go beyond the cultural hierarchies implicitly or explicitly at work in the dominant paradigms. (shrink)

Summary This article presents and compares aspects of Charles Taylor's and Hans Blumenberg's seemingly opposing views about agency and epistemology, setting them in the context of the tradition in German ideas called ?philosophical anthropology?, with which both align their thinking. It presents key strands of this tradition, from their inception in the late eighteenth century in the writings of Herder, Schiller and others associated with anthropology to their articulation by thinkers such as Max Scheler, Arnold Gehlen and Karl Löwith in (...) the early twentieth century. The main issues here are: man's status as part of nature or as ?radically divorced? from nature; the possibility of objective knowledge of man versus the epistemological status of human ?meaning?; the view of knowledge as abstraction versus ?concrete? or ?lived? experience. Within these parameters the article contrasts Taylor's emphasis on ?engaged? agency, embedded in discourses, bodies and predispositions, with Blumenberg's sense of our ?indirect? relation to reality: ?delayed, selective, and above all ?metaphorical??. It concludes that each position may be traced back to a key strand in philosophical anthropology: the one emphasising man's unique freedom, the other that sees man's grasp of reality as uniquely interwoven with a background of meanings. (shrink)

This essay argues that Freud’s case of Little Hans, while complicated by Hans’ father’s dual role in the analysis and in the Oedipal drama itself, provides valuable insight into the nature of psychoanalytic evidence and argument. The case provides direct, if sometimes ambiguous, evidence concerning primal phantasies and infantile sexuality--issues of universality, the role of experience, and the nature of phantasy are explored. Four strands of Freud’s analysis of Little Hans’ horse phobia are also explored. While the toxicological theory of (...) anxiety is problematical and was subsequently abandoned by Freud himself, the other strands have great explanatory power and offer advantages over behaviorist and other alternative accounts. A kind of theoretical rigor in the concepts employed is argued to be among those advantages. The inevitably theory-laden character of observation is emphasized throughout, and it is argued that psychoanalysis provides a far more powerful theory than certain critiques would allow. (shrink)

This paper is about Ramsey's Principle, according to which a belief's truth-conditions are those that guarantee the success of an action based on that belief whatever the underlying motivating desires. Some philosophers have argued that the Principle should be rejected because it leads to the apparently implausible consequence that any failure of action is the result of some false belief on the agent's part. There is a gap between action and success that cannot be bridged by the agent's cognitive state. (...) At best, the Principle should be relativized to circumstances. We show on the contrary that when the Principle is properly understood, it does not amount to “overburdening” belief. We exploit an analogy between knowledge and action in order to show that intentional action is a source of knowledge relative to a set of beliefs whose collective truth guarantees the success of the action. It does not follow that the agent is explicitly representing all possible obstacles to her action. Most of the relevant beliefs are implicit, in the sense that if they were to be formed, they would be directly or indirectly justified by the agent's experience of acting. (shrink)

We settle a number of questions concerning definability in first order logic with an extra predicate symbol ranging over semi-linear sets. We give new results both on the positive and negative side: we show that in first-order logic one cannot query a semi-linear set as to whether or not it contains a line, or whether or not it contains the line segment between two given points. However, we show that some of these queries become definable if one makes small restrictions (...) on the semi-linear sets considered. (shrink)

This collection is about how law makes meaning and how meaning makes law. Through clear methodology and substantial findings, chapters expose the deficits of 'literal' meaning and the difficulties in 'ordinary' meaning, in international legal contexts and in more immediate social ones, as well as in courtrooms. Further, chapters in this volume see the challenges to national and international commitments to all speakers sharing a common meaning.

Abraham! Abraham! is an adventure in contemporary theology addressing the akedah (the binding or sacrifice of Isaac) inspired by Kierkegaard and by the Hasidim, especially Rabbi Nachman of Breslav and Rabbi Mordecai Joseph Leiner of Izbica. Gellman presents his version of Kierkegaard and compares and contrasts this with Hasidic thinkers. He then proceeds to employ Kierkegaardian and Hasidic themes to develop a contemporary reading of the story, and, in contrast, presents an understanding of the akedah from Sarah's point of view. (...) Appealing to a wide range of readers interested in existentialism, Hasidism, Christian thought, and feminist thought, Jerome Gellman illustrates the richness in Kierkegaard and Hasidic writings on the akedah. (shrink)

John Dewey’s analysis of the role of emotion in moral reasoning, presented in the later Ethics, led him to conclude that our development of moral reasoning should be less focused on the secondary interest of attention to ourselves or others, and attend to the more complete interests of the welfare and integrity of the social groups in which we participate. In that analysis, Dewey identified the essential role of empathic understanding in moral decisions, referred to by neuroscientists as social intelligence. (...) Dewey’s discussion of the essential role of emotion in these decisions is further supported by research in neuroscience which has established that general intelligence is located in an area of the brain distinct from the area that supports social intelligence, our capacity for empathic experience. These findings suggest that the presence of individuals with developed social intelligence in the groups in which we participate provide increased opportunities for growth. (shrink)

Prologue: retrospective and prospective -- The ethics of enough -- Real and apparent goods -- Wrong desires: pleasure, money, fame, and power -- Right desires: the totum bonum and its constituents -- Fundamental errors in moral philosophy -- Necessary but not sufficient -- Epilogue: transcultural ethics.

Book Symposium on Don Ihde’s Expanding Hermeneutics: Visualism in Science Content Type Journal Article Category Book Symposium Pages 1-22 DOI 10.1007/s13347-011-0060-5 Authors Jan Kyrre Berg Olsen Friis, University of Copenhagen, Nørre Farimagsgade 5 A, Room 10.0.27, 1014 Copenhagen, Denmark Larry A. Hickman, The Center for Dewey Studies, Southern Illinois University Carbondale, Carbondale, IL 62901, USA Robert Rosenberger, School of Public Policy, Georgia Institute of Technology, DM Smith Building, 685 Cherry Street, Atlanta, GA 30332-0345, USA Robert C. Scharff, University of (...) New Hampshire, Durham, NH 03824-3574, USA Don Ihde, Stony Brook University, Harriman Hall 221, Stony Brook, NY 11794-3750, USA Journal Philosophy & Technology Online ISSN 2210-5441 Print ISSN 2210-5433. (shrink)