An excerpt from the INTRODUCTORY chapter: THE word "aesthetic," which originally meant perception by the senses, has had its meaning particularized so that it usually is associated with perception of a specific kind. In this sense it is applied to the appreciative attitude of the discerning mind towards the beautiful in art and in nature. Philosophy has spent not a little time and trouble on the attempt to formulate and define the essential nature of the beautiful; but what one regards (...) as beautiful, another will either lack interest in or even positively dislike, and such attempts, therefore, have not been particularly successful. This conflict of tastes is particularly noticeable in the case of the Art of Music. One age has its ideals which are often — if not usually — opposed to those of the succeeding generation; people in one country will take pleasure in a type of music which appears incomprehensible to those of another; and, even in the case of individuals of the same time and place, what one may admire and love another will abhor and detest. In the case of Music, therefore, it seems well-nigh hopeless to attempt to formulate or define what is the "beautiful," and I have no intention in this little book of trying such an unpromising task. Each of us has his or her own ideas of what constitutes musical beauty, and in most cases the criteria on which our judgments are based are not themselves fixed but are in a state of flux and development. Many people, it is true, seem obliged to adopt a fixed standard of artistic value to which they refer and on which their artistic judgments depend, and strenuously endeavor to prevent any change in, or deviation from, the rigorous formulae which regulate their musical thinking. An enlightened and progressive attitude is, naturally, for such, an impossibility, and the inevitable and necessary developments of Art pass unnoticed or misunderstood. Some aesthetic standards, however, are necessary, and if they are allowed to share in the inevitable process of development — if they are living, not dead — assist that process by giving it both direction and progressive energy. It is not even necessary that the musician should be able to formulate clearly what are the conditions and factors in a work in virtue of which it appeals to him as beautiful or the reverse. To reduce these aesthetic values to a clean-cut statement of relations intellectually apprehended, would, by that very act, tend to induce reference to dead and mechanical standards. The feeling of the beautiful is something which is intuitive, and which neither needs to be explained, nor can be explained, in terms of reason. In fact, it is something apprehended immediately, "perceived through the senses," and can no more be "explained" than those sensations which we call heat, cold, sweet, sour, etc. The Art of Music as practised in countries which owe their culture and civilization to Western Europe is the outgrowth of a body of doctrine and dogma which is extremely elaborate and complex. But for the fact that much of it is obviously derived from convention and custom rather than from natural law, it might almost be called a Science. It is very doubtful, however, if the feeling for the beautiful in Music is more keen in the case of the individual expert in the niceties of this quasi-science than in him who is entirely ignorant of its laws and conventions. (shrink)

This Elibron Classics title is a reprint of the original edition published by William Blackwood and Sons in Edinburgh and London, 1904.

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections (...) in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ The Ethics Of George Eliot's Works 3 John Crombie Brown W. Blackwood, 1880 Literary Criticism; European; English, Irish, Scottish, Welsh; Literary Criticism / European / English, Irish, Scottish, Welsh; Literary Criticism / Women Authors. (shrink)

The following essay, whose title has been provided by me for this occasion, is taken from James Ferrier's work The Institutes of Metaphysic where it appears in Section I., the general theme of which is ‘The Epistemology, or Theory of Knowing’. The essay is a statement and elaboration of the ‘ninth proposition’ of the Institutes, and an examination of its implications as these bear upon knowledge of mind and self. The precise source of the text is the 3rd edition of (...) the Institutes of Metaphysic (Edinburgh: William Blackwood and Sons 1875). Ferrier indicates earlier that ‘generally throughout this work the word “cognition” signifi es the known, the cognitum. This remark is necessary lest the reader should suppose that it signifi es the act rather than the object of knowledge’ (p. 156). In the last section of this introduction I list the preceding eight propositions. (shrink)

Mill's On Liberty has turned out to be, as he predicted, the most widely read and long-lasting of his writings. It has proved, however, extremely difficult to pin Mill down to any definite political doctrines. His contemporaries clearly had the same problems as have beset modern commentators. Some portray Mill as a dangerous revolutionary, a latter-day Jacobin; others see him as peddling mere platitudes. This volume traces the reception of On Liberty in the periodical literature, from the "rave" review of (...) Buckle in Fraser's Magazine, by way of the furious denunciations in such Tory journals as Blackwood's and the Quarterly, down to later liberals like John Morley and Leslie Stephen. (shrink)

A philosophical analysis of different kinds of memory used in the film Memento.

Studies in Empirical Philosophy was published in 1962 shortly after Anderson's death and had been prepared by him to include most of his published articles from the Australasian Journal of Philosophy and Psychology. It also includes a couple of articles written especially for the book. It remains the main published source of material on Anderson's systematic philosophy. John Passmore has kindly granted permission for his introduction to be included in this new release. John Anderson (1893-1962) was Challis Professor (...) of Philosophy at the University of Sydney from 1927 until 1958. He is generally regarded as the most important philosopher to have worked in Australia. His students included not only academic philosophers but also important figures in politics, law and journalism. His impact upon Sydney's social and cultural life was enormous. (shrink)

1. Introduction: memory and interdisciplinarity (footnote 1) Memory is studied at a bewildering number of levels, in a daunting range of disciplines, and with a vast array of methods. Is there any sense at all in which memory theorists - from neurobiologists to narrative theorists, from the developmental to the postcolonial, from the computational to the cross-cultural - are studying the same phenomena? This exploratory review paper sketches the bare outline of a positive framework for understanding current work on memory, (...) both within the various cognitive sciences and across the gulfs between the cognitive and the social sciences. (shrink)

In 1984, John W. Yolton published Perceptual Acquaintance from Descartes to Reid. His most recent book builds on that seminal work and greatly extends its relevance to issues in current philosophical debate. Perception and Reality examines the theories of perception implicit in the work of seventeenth- and eighteenth-century philosophers which centered on the question: How is knowledge of the body possible? That question raises issues of mind-body relation, the way that mentality links with physicality, and the nature of the (...) known world. In contrast to commonsense realism, which suggests that the world is as it appears to be, a more complex theory developed throughout this period. Yolton traces its evolution from Descartes to Kant, via Arnauld, Malebranche, Locke, Berkeley, and Hume. Yolton explains that the new theory postulated two interactive relations between perceivers and the physical world, one physical and causal, the other cognitive. An understanding of this double relation is important for an accurate construction of the history of philosophy. It is also important for contemporary thought because it suggests a way to account for representation (cognitivity) and realism at the same time. (shrink)

In a wide-ranging, provocative anatomy of modern society and its origins, novelist and historian John Ralston Saul explores the reason for our deepening sense of crisis and confusion. Throughout the Western world we talk endlessly of individual freedom, yet Saul shows that there has never before been such pressure for conformity. Our business leaders describe themselves as capitalists, yet most are corporate employees and financial speculators. We are obsessed with competition, yet the single largest item of international trade is (...) a subsidized market in armaments. We call our governments democracies, yet few of us participate in politics. We complain about "invasive government," yet our legal, educational, financial, social, cultural and legislative systems are breaking down. While most observers view these problems separately, Saul demonstrates that they are largely manifestations of our blind faith in the value of reason. Over the last 400 years, our "rational elites" have gradually instituted reforms in every phase of social life. But Saul shows that they have also been responsible for most of the difficulties and violence of the same period. This paradox arises from a simple truth which our elites deny: far from being a moral force, reason is no more than an administrative method. Their denial has helped to turn the modern West into a vast, incomprehensible, directionless machine, run by process-minded experts - "Voltaire's bastards"--Whose cult of scientific management is bereft of both sense and morality. Whether in politics, art, business, the military, entertainment, science, finance, academia or journalism, these experts share the same outlook and methods. The result, Saul maintains, is a civilization of immense technological power whose peoples increasingly dwell in a world of illusion. Already known to millions of readers as the author of novels which portray the overwhelming effects of this power on the modern individual by weaving together international finance, the oil and arms business, guerrilla warfare, drug traffic, and the world of art, here Saul lays aside the mask of fiction to speak in his own voice. Only by withdrawing from our addiction to "solutions," he argues, reclaiming the citizens' right to question and participate in public life, and recovering a common sense capacity for intelligent panic, can we find a way out of our permanent crisis. (shrink)

The great biologist Louis Pasteur suppressed 'awkward' data because it didn't support the case he was making. John Snow, the 'first epidemiologist' was doing nothing others had not done before. Gregor Mendel, the supposed 'founder of genetics' never grasped the fundamental principles of 'Mendelian' genetics. Joseph Lister's famously clean hospital wards were actually notorious dirty. And Einstein's general relativity was only 'confirmed' in 1919 because an eminent British scientist cooked his figures. These are just some of the revelations explored (...) in this book. Drawing on current history of science scholarship, Fabulous Science shows that many of our greatest heroes of science were less than honest about their experimental data and not above using friends in high places to help get their ideas accepted. It also reveals that the alleged revolutionaries of the history of science were often nothing of the sort. Prodigiously able they may have been, but the epithet of the 'man before his time' usually obscures vital contributions made their unsung contemporaries and the intrinsic merits of ideas they overturned. These distortions of the historical record mostly arise from our tendency to read the present back into the past. But in many cases, scientists owe their immortality to a combination of astonishing effrontery and their skills as self-promoters. (shrink)

In his masterly book Christ and Culture H. Richard Niebuhr identified five main attitudes which Christians have taken towards secular culture. The first emphasizes the opposition between Christ and culture. In the New Testament it is best seen in Revelation and in the First Epistle of John. But it appears in its most radical form in Tertullian, though even he is not wholly consistent. Men are under illusions from their very culture . Graeco-Roman society was shot through and through (...) with what Tertullian regarded as superstition and idolatry, as well as immorality. So Tertullian repudiated political life, military service, many aspects of commerce, philosophy and the arts. (shrink)

In his classic, The Idea of a University, John Henry Cardinal Newman advanced three arguments for the inclusion of theology in the liberal arts curriculum. These include the very nature of a university in its profession to teach all subjects, the interdisciplinary value of theology, and the danger of academic quackery and usurpation, when a subject matter is not given its due place in the curriculum. The arguments for theology are intimately connected to Newman's high ideal of education, rightly (...) celebrated by educators today. The crisis in contemporary liberal education is reflected in a dispute between Edward O. Wilson and Richard Rorty over the concept of "consilience." Yet there are promising signs of a renewal of liberal education through a deeper appreciation of theology in the course of studies in higher education. (shrink)

This book addresses one of the fundamental topics in philosophy: the relation between appearance and reality. John Yolton draws on a rich combination of historical and contemporary material, ranging from the early modern period to present-day debates, to examine this central philosophical preoccupation, which he presents in terms of distinctions between phenomena and causes, causes and meaning, and persons and man. He explores in detail how Locke, Berkeley and Hume talk of appearances and their relation to reality, and offers (...) illuminating connections and comparisons with the work of contemporary philosophers such as Paul Churchland and John McDowell. He concludes by offering his own proposal for a 'realism of appearances', which incorporates elements of both Humean and Kantian thinking. His important study will be of interest to a wide range of readers in the history of philosophy, the history of ideas, and contemporary philosophy of mind, epistemology and metaphysics. (shrink)

John Paul II frames the issue of disenchantment and re-enchantment in terms of “alienation” and “participation”--various works of human power recoil upon the person and inhibit full human development and participation. The neglect and distortion of human rights is one such form of alienation indicating the deeper issue concerning human flourishing. John Paul encourages a radical questioning about human progress so as to better understand the threats that accompany bureaucratic increase in power. Aspects of cultural and human development (...) offer a challenge to mankind to overcome alienation and to participate in community and social love. Through an appeal to the Spirit, and the search for truth, goodness, and beauty, John Paul seeks to open up a lived path to God by way of the person’s transcendence. (shrink)

Thornhill, John Among the thinkers who have helped me expand my intellectual horizons, Dawson has a unique place. From an early date, I became aware of the importance of situating the Church's expression of our faith tradition in its historical and cultural context. In time I was to find that Dawson's interpretation of cultural history made it possible to do this within the enlightening framework he provided.

This volume recreates the received notion of reflective equilibrium. It reconfigures reflective equilibrium as both a cognitive ideal and a method for approximating this ideal. The ideal of reflective equilibrium is restructured using the concept of discursive strata, which are formed by sentences and differentiated by function. Sentences that perform the same kind of linguistic function constitute a stratum. The book shows how moral discourse can be analyzed into phenomenal, instrumental, and teleological strata, and the ideal of reflective equilibrium reworked (...) in these terms. In addition, the work strengthens the method of reflective equilibrium by harnessing the resources of decision theory and inductive logic. It launches a comparative version of decision theory and employs this framework as a guide to moral theory choice. It also recruits quantitative inductive logic to inform a standard of inductive cogency. When used in tandem with comparative decision theory, this standard can aid in the effort to turn the undesirable condition of reflective disequilibrium into reflective equilibrium. (shrink)

"Don't believe any of this. Place no value in the book, in the author. Give it up, the idea of author, of truth. Give up all believe: believe only in yourself. You: you are nothing but my experience. Me: I don't. I don't believe any of this." —John Brockman.

HEIDEGGER COULD NEVER RESIST A GOOD STORY. He could never resist giving what he had discovered about alëtheia and the oblivion of Being a narrative form. In Being and Time we were promised a story--which was to be written backwards--of the "destruction of the history of ontology." Beginning at the end, with Kant, it was to feel its way back through the tradition in a deconstructive gesture, looking for what had all along been blocking the discovery of the temporal meaning (...) of Being which had at last begun to emerge in Kant. In the later works this story is considerably recast. Again, the vantage point is the end, but now the end is the age of the Gestell, the enframing, the "end of philosophy," which holds us all in its grip. The end is not conceived as a modern breakthrough but as an eschaton, a dead end into which the West has run. The task of thought is to make its way back into the primordial "Beginning" in order to recapture that fleeting moment which will make it possible for us today to begin anew, to make the present into an "authentic" end, which means a transition to another beginning. (shrink)

Thornhill, John It is not difficult to recognise that the 'new evangelisation' being undertaken by today's Church presents a considerable challenge. How many in today's Church, even among our leaders, have a clear idea of what it should involve in practice?

Our love of art, writes John Barrow, is the end product of millions of years of evolution. How we react to a beautiful painting or symphony draws upon instincts laid down long before humans existed. Now, in this enhanced edition of the highly popular The Artful Universe, Barrow further explores the close ties between our aesthetic appreciation and the basic nature of the Universe. Barrow argues that the laws of the Universe have imprinted themselves upon our thoughts and actions (...) in subtle and unexpected ways. Why do we like certain types of art or music? What games and puzzles do we find challenging? Why do so many myths and legends have common elements? In this eclectic and entertaining survey, Barrow answers these questions and more as he explains how the landscape of the Universe has influenced the development of philosophy and mythology, and how millions of years of evolutionary history have fashioned our attraction to certain patterns of sound and color. Barrow casts the story of human creativity and thought in a fascinating light, considering such diverse topics as our instinct for language, the origins and uses of color in nature, why we divide time into intervals as we do, the sources of our appreciation of landscape painting, and whether computer-generated fractal art is really art. Drawing on a wide variety of examples, from the theological questions raised by St. Augustine and C.S. Lewis to the relationship between the pure math of Pythagoras and the music of the Beatles, The Artful Universe Expanded covers new ground and enters a wide-ranging debate about the meaning and significance of the links between art and science. (shrink)

Western thought since the seventeenth century has been dominated by methodological solipsism (Krieger, 1991). The famous sound-bite of René Descartes 'cogito, ergo sum': 'I think, therefore I am', became the starting point for most discourse on the nature of things. This dictum does not advocate idealism. It does not assert that everything is necessarily a construct of the human mind. But it assumes that the world of things and beings is surveyed and interpreted from the point of view of a (...) single individual. Nowhere is this stance more entrenched than in the philosophy of science. To a remarkable degree the scientist is represented as studying the natural world as if alone in it, served only by mindless assistants who might as well be replaced by machines. Scientific theories are presented as systems of thought conjured up and tested by that same individual in a further series of single-headed operations. Research results are formulated and treated philosophically as the independent findings of lone explorers, each reporting the evidence of their own eyes and their rational inferences concerning the hidden mechanisms by which these personal percepts might be generated. Our epistemological role models are Robinson Crusoe and Sherlock Holmes, self-sufficient intellectuals to whom their human companions, Friday and Watson, are mere stooges. (shrink)

This review describes central difficulties in the interdisciplinary study of dreaming, summarizes Jouvet's account of his role in the history of modern dream science, queries his positive speculations on the semantics of dreaming, and suggests work for historians of neuroscience.

As John Henry Newman reflected on 'The Idea of a University' more than a century and a half ago, Bradley C. S. Watson brings together some of the nation's most eminent thinkers on higher education to reflect on the nature and purposes of the American university today. Their mordant reflections paint a picture of the American university in crisis. This book is essential reading for thoughtful citizens, scholars, and educational policymakers.

John Ashton, the editor who brought us In Six Days and On the Seventh Day, has done it again with this compelling new book that is a must-read for all ...

In 2012, baker Jack Phillips of Masterpiece Cakeshop refused to create a wedding cake for a same-sex couple, citing religious beliefs. Colorado Public Accommodations law prohibits business owners from denying the “full and equal enjoyment” of their services on the basis of sexual orientation, and Phillips refused to sell the couple the very same items he would sell to a heterosexual couple. But Phillips, who fashions himself as a “cake artist,” argues that applying the law here would interfere with his (...) free-speech rights. Moreover, he argues that he is not actually discriminating on the basis of sexual orientation but on the basis of a particular understanding of marriage; he is happy to sell Lesbian, Gay, Bisexual, and Transgender people a wide range of other items. In this chapter, I evaluate both arguments. In the postscript, I briefly explain the US Supreme Court's June 2018 ruling on the case. (shrink)

The territory of time travel has, from the days of H. G. Wells to the mid-1980's, been the exclusive province of writers of science fiction and fantasy. SF critics have even argued that time travel stories are so scientifically unlikely that they should be considered fantasy, not science fiction.

English critics were brilliant initiators and exploiters of biblical criticism. This momentous exercise, whereby the 'Holy Scriptures' became the object of human critique independent of church control, is illustrated by John Drury in the present volume with excerpts from such famous critics as Coleridge, Blake and Matthew Arnold, and lesser names such as Collins and Deist and Bishop Sherlock. Robert Lowth's famous lectures on the Psalms, which had an important influence on Blake and Christopher Smart, are well represented here, (...) as is the famous contribution to Essays and Reviews by Benjamin Jowett. This book provides the only available collection of biblical criticism from this important period of critical enquiry, the eighteenth and nineteenth centuries. The extracts are accompanied by a full editorial introduction, notes and a bibliography. They should be read by all students of literature and theology interested in the period. (shrink)