(No abstract is available for this citation).

In the Phenomenology of Spirit, Hegel discusses marriage in his analysis of the first shape of Spirit, Ethical Life. Since it is analyzed in terms of a particular shape of spirit and set in Ancient Greece, it is difficult to understand both its use in the Phenomenology as well as what claims, if any, he is making about the institution of marriage as such. I aim to show that in this text, marriage functions as a fundamental context in which self‐knowing (...) occurs. (shrink)

The paper offers a new account of the rule of law, revising my previous view, and criticising some alternatives. It focuses on the rule of law's aim to avoid arbitrary government, and on its relation to the essential functions of government. The rule of law requires that government action will manifest an intention to protect and advance the interests of the governed. As such it is almost a necessary condition for the law's ability to meet other moral demands, and it (...) facilitate coordination and cooperation internally and internationally. -/- . (shrink)

Language, meaning, and ek-sistence, by J. J. Kockelmans.--Heidegger's conception of language in Being and time, by J. Aler.--Poetry and language in Heidegger, by W. Biemel.--Heidegger's topology of being, by O. Pöggeler.--Thinking and poetizing in Heidegger, by H. Birault.--Hermeneutic and personal structure of language, by H. Ott.--Ontological difference, hermeneutics, and language, by J. J. Kockelmans.--The world in another beginning: poetic dwelling and the role of the poet, by W. Marx.--Panel discussion.--Heidegger's language: metalogical forms of thought and grammatical specialties, by E. Schöfer.--M. (...) Heidegger's "ontological difference" and language, by J. Lohmann.--Bibliography (p. 365-368). (shrink)

The tendency to test outcomes that are predicted by our current theory (the confirmation bias) is one of the best-known biases of human decision making. We prove that the confirmation bias is an optimal strategy for testing hypotheses when those hypotheses are deterministic, each making a single prediction about the next event in a sequence. Our proof applies for two normative standards commonly used for evaluating hypothesis testing: maximizing expected information gain and maximizing the probability of falsifying the current hypothesis. (...) This analysis rests on two assumptions: (a) that people predict the next event in a sequence in a way that is consistent with Bayesian inference; and (b) when testing hypotheses, people test the hypothesis to which they assign highest posterior probability. We present four behavioral experiments that support these assumptions, showing that a simple Bayesian model can capture people's predictions about numerical sequences (Experiments 1 and 2), and that we can alter the hypotheses that people choose to test by manipulating the prior probability of those hypotheses (Experiments 3 and 4). (shrink)

This comprehensive and accessible volume covers four periods, each with a different focus. From 300 to 750, Canning examines Christian ideas of rulership. The often neglected centuries from 750 to 1050, the Carolingian period and its aftermath, are given special attention. From 1050 to 1290 the conflict between temporal and spiritual power comes to the fore. Finally, in the period from 1290 to 1450, Canning focuses on the confrontation of church and state ideas with political realities.

In the first place, Hans Albert is famous as the spokesperson of Karl Popper’s critical rationalism in the German-speaking world. This is chronologically a bit odd, given that Popper’s first vintage, his Logik der Forschung, appeared in German in 1935 and that his The Open Society and Its Enemies of 1945 appeared in German in 1958. Yet Albert did much to earn this fame: his decades-long indefatigable response to criticisms of Popper’s views in the post-war German philosophical literature and his (...) constant contrast between Popper’s critical rationalism and competing views that were popular in Germany at the time. (shrink)

This essay is concerned with some of Michel Foucault's writings on art. The author talks about the analyses of painting Foucault conducted during the period in which Foucault was developing the philosophical methodology known as archaeology. Despite archaeology's strong epistemological orientation, that methodology gives rise to a form of seeing that suspends the imperatives for the production of meaning that accrue around works of art. Some of the consequences of this suspension are explored in the final section of this essay (...) where the author describes archaeology as giving rise to an artistic‐philosophical thought that operates outside of the bounds of truth and falsity. The author contends that it is particularly well suited for approaching the artistic products created during and after the breakup of mimesis, the European cultural paradigm that articulated strong connections between art – considered as representation – and reality. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This book explores the ways in which Bernard Lonergan’s philosophy provides exactly the kind of support F.R. Leavis was hoping to find when looking for support for his critical approach to literature after failing to find the support he sought for his argument in the dominance of logical positivism at that time.

The sudden collapse of the Communist states in Eastern Europe during the autumn of 1989 is now history. The transformation of the world in 1989 has been reported and commented on through analyses of the political, economic, and social state of affairs that led to one of the most surprising events of the 20th century. However, in many ways this story has been only partially told. This is because of a lack of attention paid to the vital role that the (...) Christian churches played in that transformation. This article seeks to remedy that omission through a brief history of the period. The author utilizes an array of secondary and primary sources in the writing of this history. He was also an observer of most of the revolutions of Eastern Europe and interviewed a number of participants in the dramatic events of 1989. (shrink)

The title of the film by Steve Kloves (1989) refers to the dual-piano, languishing lounge act performed by two brothers. The resurgence and demise of the musical team is brought about by the addition of a sultry, female vocalist--Susie Diamond. Embedded within the story is an exploration of integrity and its augmentation by the virtues of courage and honesty. Integrity marks an individual whose self is a coherent, consistent whole. Important elements of the individual’s personality are mutually supportive rather than (...) being disparate or in conflict. The integrity scrutinized by the film is Jack’s; it involves the younger brother’s inconsistent fidelity to his considerable musical talent. Late in the story we learn that he despises performing the popular musical fare with his brother and that he really wants to be creative, playing jazz. Although Jack is shown playing piano with modulated passion at a jazz club, we infer that he does so infrequently. Jack’s older brother is not in conflict with himself because his talent is suited to playing the bland tunes that are the staple of the act. Jack’s integrity is compromised because his commitment to his art is half-hearted; he cannot make the leap of faith--in himself. He knows that he hates playing the lounge music, is moved by jazz, and has considerable ability. Jack therefore realizes, however vaguely, that he ought to give himself to the music he loves, despite the risks this would entail. The trajectory of the film-story can be viewed as Jack finally summoning the courage to honestly confront his struggle with integrity and deciding to do something about it. (shrink)

The film Young Adult offers a striking example of vanity and its entanglement with other vices. Mavis Garry is prompted to return to her home town to woo a married, former beau out of vanity: an overweening desire to be admired for her appearance and authorship. Vanity involves wishing to be seen possessing something valuable that others lack and bestowing excessive attention on it, as in Mavis’s repeated physical preening and buffing. Because comparison is central to vanity, it contributes to (...) Mavis’s envy. Vanity also encourages her arrogance by inflating Mavis’s distorted view of her self-worth. At the film’s climax, Mavis’s defects are publicly witnessed, producing in her the salutary moral experience of shame. However, Mavis’s incipient self-awareness and shame are dissipated by a few words from a fawning fan, as the undertow of vanity pulls Mavis beneath the clarity of the moral sensibility that was momentarily evoked by shame. (shrink)

This article views the confrontation between pragmatism and Kant’s Critical undertaking as very possibly the single most consequential agon of contemporary philosophy, given the utter irreconcilability of their respective ways of addressing the concerns of First Philosophy, with regard to the enabling conditions of cognitive realism. Pragmatism favors an informal, fluxive, “instrumentalist” form of empiricism, impossible to complete, opposed to any and all the ontic and epistemic fixities of Kant’s Rationalism. Reason (Vernunft) cannot be more than a fiction. Kant has (...) no supporting criterion of realism. The article proposes an empirical criterion of the distinctive (given) “duality” of sensory “appearings” and “appeareds” (that is, objects) as yielding a plausible “cognitive faculty” (involving “reasoning”—inference, for instance—but not Vernunft) that, in accord with the drift of evolutionism and Aristotle, readily extends to languageless animals as well as humans. It serves as the linchpin of the paper. (shrink)

In Everything in Its Right Place, Joseph Almog develops the unitarian and universalist metaphysics of Spinoza.

It is obvious that the closer the structure of a narrative conforms to causal-chronological sequence, the closer it corresponds to the linear-temporal order of language. It is now equally obvious, however, that such correspondence is contrary to the nature of narrative as an art form. Indeed, it is clear that all through the history of the novel a tension has existed between the linear-temporal nature of its medium and the spatial elements required by its nature as a work of art. (...) Most of what are known as the "formal conventions" of the novel are an implicit agreement between writer and reader not to pay attention to this disjunction and to overlook the extent to which it exists. Shklovsky provocatively called Tristram Shandy the most "typical" novel in world literature because it "laid bare" all the conventions, whose nature as conventions had become imperceptible through long familiarity, employed by the form. Joseph Frank, professor of comparative literature and director of the Christian Gauss seminars in criticism at Princeton University, received the James Russell Lowell Prize of the MLA for Dostoevsky: The Seeds of Revolt, 1821-1849, the first volume of his four-volume biography. Frank's original article on spatial form in modern literature appeared in Sewanee Review ; the essay was later revised and incorporated in his The Widening Gyre: Crisis and Mastery in Modern Literature. (shrink)