The prevailing opinion in our culture is that bribery is in principle wrong. I challenge that view and offer an analysis that suggests that bribery is a morally neutral concept. The analysis closely parallels the legal notions, suggesting that this analysis may have a firm grounding in our own tradition in spite of the prevailing views. To bribe someone is to offer something of value to another with the intent of inducing an action that is contrary to the positional duties (...) of the office or role of that other person. Whether offering or accepting a bribe is morally correct or incorrect, then, depends entirely upon whether the relevant positional duties have moral backing, all things considered. One virtue of the analysis is that it provides a definition that allows for a cross-cultural comparison that does not impose the standards of one society on those of another but allows for moral judgment. To determine whether a Japanese official has accepted a bribe, for example, one must determine the positional duties of the official as defined in that culture. The analysis also reveals why most believe bribery to be prima facie wrong. This is explained historically by the fact that the concept originally applied exclusively to positional duties in the judicial system, where all believed it to be morally unjustified to transgress duties of impartiality, etc. Finally, the analysis suggests that beliefs about the immorality of commercial bribery rest on the assumption that the positional duties of corporate managers and agents are to abide by the fictitious free-market rules and that the rules of the free market are morally justified. (shrink)

Forenames serve as proxies for gender labels that activate gender stereotypes and gender socialization. Unlike rigid binary gender categories, they differ in the degree to which they are perceived as “masculine” or “feminine.” We examined the novel hypothesis that the ability of a forename to signal gender is associated with gender role behavior in women and men as part of a larger study evaluating forenames used in resume research. Compared to individuals endorsing a “gender-strong” forename, those perceiving their forename as (...) relatively “gender-weak” reported less gender-typical childhood social behavior and a weaker expression of gender-linked personality traits. Our findings suggest that forenames strengthen or weaken gender socialization, gender identification, and so contribute to the variable expression of gender role behavior within binary gender groups. (shrink)

Published one year after Forget Foucault, In the Shadow of the Silent Majorities may be the most important sociopolitical manifesto of the twentieth century: it calls for nothing less than the end of both sociology and politics. Disenfranchised revolutionaries hoped to reach the masses directly through spectacular actions, but their message merely played into the hands of the media and the state. In a media society meaning has no meaning anymore; communication merely communicates itself. Jean Baudrillard uses this last outburst (...) of ideological terrorism in Europe to showcase the end of the "Social." Once invoked by Marx as the motor of history, the masses no longer have sociological reality. In the electronic media society, all the masses can do--and all they will do--is enjoy the spectacle. In the Shadow of the Silent Majorities takes to its ultimate conclusion the "end of ideologies" experienced in Europe after the Soviet invasion of Hungary and the death of revolutionary illusions after May 1968. Ideological terrorism doesn't represent anything anymore, writes Baudrillard, not even itself. It is just the last hysterical reaction to discredited political illusions. (shrink)

In this series of eight articles, the Australian Traumatic Brain Injury Initiative (AUS-TBI) consortium describes the Australian approach used to select the common data elements collected acutely that have been shown to predict outcome following moderate-severe traumatic brain injury (TBI) across the lifespan. This article presents the unified single data dictionary, together with additional measures chosen to facilitate comparative effectiveness research and data linkage. Consultations with the AUS-TBI Lived Experience Expert Group provided insights on the merits and considerations regarding data (...) elements for some of the study areas, as well as more general principles to guide the collection of data and the selection of meaningful measures. These are presented as a series of guiding principles and themes. The AUS-TBI Aboriginal and Torres Strait Islander Advisory Group identified a number of key points and considerations for the project approach specific to Aboriginal and Torres Strait Islander peoples, including key issues of data sovereignty and community involvement. These are outlined in the form of principles to guide selection of appropriate methodologies, data management, and governance. Implementation of the AUS-TBI approach aims to maximize ongoing data collection and linkage, to facilitate personalization of care and improved outcomes for people who experience moderate-severe TBI. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kendall L. Walton FICTION, FICTION-MAKING, AND STYLES OF FICTIONALITY Both objectsandactions are said to have styles. Styles eire attributed to works of art, bathing suits, neckties, and automobiles. But we also think of styles as ways of doing things. There are styles of teaching, styles of chess playing, styles of travel. The primary notion of style is the one which attaches to actions. When we speak of die (...) style of a poem or a portrait or em automobile we do so with reference to an action or actions associated with the object, usually the action or actions which appear to have been performed in die making of it. I will not argue now for this claim about style except to note that style attributions eure peculietrly alien to objects which are not products of human action. What is the style of a tulip, or an alpine meadow, or a pristine lake in the high Sierras? Are the Grand Canyon and Yosemite Valley in the same style or different ones? Sunsets in the tropics are very different from sunsets in the arctic, but is die difference a stylistic one? We might allow that in unusual cases natured objects can have styles. A chorus ofchirping birds might, just conceivably, chirp in the style of Haydn. But die notion of style here is obviously parasitic on diat which is applied to man-made eirtifacts. To think of an object as having a style is to mink of it as a product of human action.1 If actions are the primary possessors of style, to understand styles of fictionality we must look at die action of fiction-meddng emd its relation to works of fiction. I will concentrate on the very basic question ofwhat fiction is, what it is for something to be a work of fiction, and on attempts to answer this question in terms of die action offiction-making. It has been especially fashionable to utilize die notion ofspeech acts introduced by John Austin in tackling this problem. The fictional status of a work is, supposedly, to be accounted for by what illocutionary actions were or were not performed by the artist producing it, or by connections between what the artist did and certain illocutionary actions. My assessment of mis program will be mostly negative. Speech-act theory is remarkably unhelpful in explaining what fiction is. We have here something ofa "Have dieory, will travel" syndrome. There is a tendency for theorists, when 78 Kendall L. Walton79 faced with a new problem, to dust off an old theory which they know emd love, one devised with other questions in mind, shove it into die breach, and pray mat it will fit. In this case it does not fit, and the result is confusion radier dian illumination. Lest I step on toes other man the ones I am aiming at, let me empheisize that my present concern is not with the viability of speech-act theory as a dieory of language. Nor do I mean to deny that speech-act theory can be used fruitfully to illuminate important features of literary fictions. I am now addressing only die basic question of what fiction is, how works of fiction are to be differentiated from odier things. Whatever the other merits of speech-act theory, its applications to this question have been distinctly infelicitous. From our discussion of such applications em even stronger conclusion will emerge, the conclusion that the nature of fiction is not to be explicated in terms of acts of fiction-making at all. The notion of fiction is in diis respect contrary to that of style, and certain consequences about styles of fictionality follow. I Speech-act theory has been brought to bear on the problem of the nature of fiction in a number of rather different ways. I will look at four of them. The first is the idea that works of fiction are simply texts (or other representations ) which are not vehicles of illocutionary acts. It is true mat in writing fiction an author typically does not perform the illocutionary acts that a person who uses the setme words in a nonfictional setting is likely to be performing... (shrink)

In spite of its success, Neo-Darwinism is faced with major conceptual barriers to further progress, deriving directly from its metaphysical foundations. Most importantly, neo-Darwinism fails to recognize a fundamental cause of evolutionary change, “niche construction”. This failure restricts the generality of evolutionary theory, and introduces inaccuracies. It also hinders the integration of evolutionary biology with neighbouring disciplines, including ecosystem ecology, developmental biology, and the human sciences. Ecology is forced to become a divided discipline, developmental biology is stubbornly difficult to reconcile (...) with evolutionary theory, and the majority of biologists and social scientists are still unhappy with evolutionary accounts of human behaviour. The incorporation of niche construction as both a cause and a product of evolution removes these disciplinary boundaries while greatly generalizing the explanatory power of evolutionary theory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments ENJOYING NEGATIVE EMOTIONS IN FICTIONS by John Morreall There is a puzzle going back to Aristotle and Augustine that has sometimes been called the "paradox of tragedy": how is it that nonmasochistic, nonsadistic people are able to enjoy watching or reading about fictional situations which are filled with suffering? The problem here actually extends beyond tragedy to our enjoyment of horror films and other fictional (...) depictions of situations which we would not enjoy in real life. What is it about fiction that turns intensely unpleasant situations into situations we can enjoy? Ofthe many solutions proposed to this puzzle, I shall mentionjust four. Aristotle held that in viewing tragedy we experience negative emotions — pity and fear — but get pleasure from the experience nonetheless because we are thereby purged of excess pity and fear. For Aristotle, too, there is a pleasure which tragedy shares with fiction in general, the delight we take in representations.1 Hume put more weight on this latter delight. Our pleasure in tragedy, he said, is based on our appreciation of the skill with which the literary or other artist has depicted the unpleasant scenes.2 Susan Feagin has recently located the pleasure we take in tragic art not in our direct responses to the work, which are "unpleasant experiences," she says, but in our meta-response of moral self-congratulation at these responses.3 The fourth solution to our puzzle is really a dissolution: it consists of denying that we actually feel fear, pity, and other negative emotions in our experience of fiction. The guiding principle here is that in order to have some emotion toward a situation, we must believe that it is a real situation. This principle is articulated in an influential article by Kendall Walton, though he does not apply it to our puzzle.4 95 96Philosophy and Literature I believe that this last solution is no solution at all because we do in fact feel emotions in our appreciation of fiction (a point I will develop later). The other three solutions above address the puzzle, and the pleasures they appeal to all have some explanatory power. But these solutions seem to me to overlook perhaps the most basic pleasure we take in tragedy, horror films, and the like — the direct pleasure of feeling (ear, pity, and similar emotions. The idea of enjoying negative emotions seems counterintuitive at first; indeed it may seem analytically false. But let us look more closely at those emotions to see what there might be to enjoy in them. Because the idea that we experience real emotions in response to fiction is controversial, we will begin not with fiction but with real life. After seeing how negative emotions can be enjoyed in real life, we can then consider their enjoyment in response to fiction. Fear is perhaps the most basic negative emotion, and at first glance one of the least likely to be enjoyed. To feel fear, many have claimed, we have tojudge that we are in danger, and danger is disturbing to us. And so it is natural that in fear there is the motivation to eliminate the danger, by fleeing, protecting ourselves, or attacking. Changes in the autonomic nervous system and the endocrine system equip us forjust such actions. They produce an increase in alertness and muscle tension, a faster and stronger heartbeat, a redistribution of the blood from the skin and internal organs to the voluntary muscles and brain, and a release of stored sugar from the liver into the bloodstream. Now although we may not be able to identify all these changes when we are in a state of fear, we can feel many of them directly, and we certainly feel the overall excitement which they produce. It is this excitement, I think, that makes fear potentially enjoyable. Especially for someone who leads a relatively dull life, the stimulation provided by fear can be pleasurable by contrast with the ordinary lack of stimulation. Many people, indeed, go to considerable trouble to put themselves into dangerous situations, in part, at least, for the thrill of fear that the danger will provide. Consider mountain climbers and skydivers, for instance. Now there are many sources... (shrink)

Do poems provide “scripts” for reader’s thoughts? Kendall Walton’s account of poets as thoughtwriters, in which poems can serve to express readers’ thoughts without positing an expressive thinker in the poem, is considered from various angles. While it seems a minimal expressive thinker needs to be posited, this leaves open other questions about poems as the stuff of thought. Can poems be fully thought, and do readers take ownership of the thinking that poetry prompts? Elizabeth Bishop’s “At the Fishhouses” (...) is discussed as a poem that allows the reader a chance to separate aspects of content and control of thought. (shrink)

Philosophers ask just whose expression, if anyone’s, we hear in lyric poetry. Walton provides a novel possibility: it’s the reader who “uses” the poem (just as a speech giver uses a speech) who makes the language expressive. But worries arise once we consider poems in particular social or political settings, those which require a strong self-other distinction, or those with expressions that should not be disassociated from the subjects whose experience they draw from. One way to meet this challenge is (...) to consider the poem expressive of a plural subject, which frees us from looking for a particular individual whose voice we hear in the work, whether she be fictional or actual. Some lyrics give voice to a group whose experience is attended to in the work. This may be done through a posited fictional speaker, but the ontology of the speaker is shown to be less important. Attending to a group whose concerns are voiced allows us to explain how poems can manage to address our-worldly concerns even when lacking actual persons whose expressions we encounter in the poems. (shrink)

This paper motivates, explains, and defends a new account of the content of thought experiments. I begin by briefly surveying and critiquing three influential accounts of thought experiments: James Robert Brown’s Platonist account, John Norton’s deflationist account that treats them as picturesque arguments, and a cluster of views that I group together as mental model accounts. I use this analysis to motivate a set of six desiderata for a new approach. I propose that we treat thought experiments primarily as (...) aesthetic objects, specifically fictions, and then use this analysis to characterize their content and ultimately assess their epistemic success. Taking my starting point from Kendall Walton’s account of representation (Mimesis as make-believe, Harvard University Press, Cambridge, 1990), I argue that the best way to understand the content of thought experiments is to treat them as props for imagining fictional worlds. Ultimately, I maintain that, in terms of their form and content, thought experiments share more with literary fictions and pictorial representations than with either argumentation or observations of the Platonic realm. Moreover, while they inspire imaginings, thought experiments themselves are not mental kinds. My approach redirects attention towards what fixes the content of any given thought experiment and scrutinizes the assumptions, cognitive capacities and conventions that generate them. This view helps to explain what seems plausible about Brown’s, Norton’s, and the mental modelers’ views. (shrink)

Includes bibliographical references and index. isbn 0-226-97861-3 (alk. paper) — isbn 0-226-97862-1 (pbk. : alk. paper) 1. Science — Philosophy. 2. Science — History. 3. Progress. I. Title. Q175 .Z25 2004 501 — dc2i 200301 1970 ...

Books reviewed:Renate Egger‐Wenzel, Ben Sira's GodPaul J. Achtemeier, Joel B. Green and Marianne Meye Thompson, Introducing the New Testament, Its Literature and TheologyI. Boxall, Revelation: Vision and Insight. An Introduction to the ApocalypseS. Moyise, Studies in the Book of RevelationG. R. Osborne, Revelation: The Baker Exegetical Commentary on the New TestamentN. T. Wright, The Resurrection of the Son of GodGillian Clark and T. Rajak, Philosophy and Power in the Graeco‐Roman World: Essays in Honour of Miriam GriffinRichard Paul Vaggione, Eunomius of (...) Cyzicus and the Nicene RevolutionStephen T. Davies, Daniel Kendall S. J. and Gerald O'Collins, The Incarnation. An Interdisciplinary Symposium on the Incarnation of the Son of GodRichard Cross, The Metaphysics of the IncarnationHugh Connolly, SinAnthony W. Bartlett, Cross Purposes: The Violent Grammar of Christian AtonementStanley Hauerwas, With the Grain of the Universe: The Church's Witness and Natural TheologySarah Coakley, Powers and Submissions: Spirituality, Philosophy and GenderChristopher Cocksworth and Rosalind Brown, Being a Priest Today: Exploring priestly identityRandall Balmer, Encyclopedia of EvangelicalismKate Armstrong, Crisis and RepetitionAnthony A. Barrett, Livia: First Lady of Imperial RomeGerhard Podskalsky, Von Photios zu Bessarion: Der Vorrang humanistisch geprägter Theologie in Byzanz und deren bleibende BedeutungNicola Coldstream, Medieval ArchitectureW. J. Armstrong, J. A. W. Hellmann and W. Short, Francis of Assisi: Early Documents, IIIEllen E. Kittell and Thomas F. Madden, Medieval and Renaissance VeniceTheodor Dieter, Der junge Luther und Aristoteles: Eine historisch‐systematische Untersuchung zum Verhältnis von Theologie und PhilosophieAndrew Brown, Church and Society in England, 1000–1500Renate Blumenfeld‐Kosinski, Duncan Robertson, and Nancy Warren, The Vernacular Spirit: Essays on Medieval Religious LiteratureBarry Collett, Female Monastic Life in Early Tudor England, with an Edition of Richard Fox's Translation of the Benedictine Rule for Women, 1517Marc R. Forster, The Catholic Revival in the Age of the Baroque. Religious Identity in Southwest Germany, 1550–1750W. R. Ward, Christianity under the Ancien Régime 1648–1789Nigel Aston, Religion and Revolution in France 1780–1804Catharine Edwards, Roman Presences: Receptions of Rome in European Culture, 1789–1945Bruce L. Kinzer, England's Disgrace? J. S. Mill and the Irish QuestionJohn Corrigan, Business of the Heart: Religion and Emotion in the Nineteenth CenturyPeter M. Chisnall, John Henry Cardinal Newman: A Man of Courage, Conflict and ConvictionVincent Ferrer Blehl, Pilgrim Journey: John Henry Newman 1801–1845Kester Aspden, Fortress Church. The English Roman Catholic Bishops and Politics 1903–63David Alvarez, Spies In The Vatican: Espionage and Intrigue From Napoleon to the HolocaustPeter McDonough and Eugene C. Bianchi, Passionate Uncertainty: Inside the American JesuitsRuby Blondell, The Play of Character in Plato's Dialogues. (shrink)

In their book entitled “Democracy and the American Party System” Austin Ranney and (Willmoore Kendall have brought a charge again the pluralists that they denied the desirability of creating sovereign state and as such, according to them, they were opponents of democracy as well as of the very idea of government. The aim of this paper is to refute their charge and thereby to establish the view that the pluralists are in fact strong supporters of democracy in the real (...) sense of the term and of popular sovereignty. What did most of them was that they made an attempt to bring to light the fact that democracy, as it is being practiced almost everywhere in the world, ultimately leads to denial of popular sovereignty, the basic element of self-government. Self-government can best be realized where the people is the real sovereign neither the state nor the numerical majority. And the government formed by the representatives elected in a traditional party-based election does not therefore, mean self-government. It can at best be called the government of the majority. Majority rule does not anyway mean democracy. It may be called ‘numbersocracy’ after the proper terminology of Ranney and Kendall. Democracy, de facto, is nothing other than majority rule that is best termed by John Calhoun, the ex-vice-president of the U.S.A, as the ‘rule by numerical majority’. ‘Numerical’ majority”, says he, “is not the people”. I strongly adhere to the pluralists’ view and therefore, conclude with an insistent assertion that numerical majority rule in disguise of democracy has in fact ruled out popular sovereignty. (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)

Nowadays, science is treated an instrument of policy, serving the material interests of government and commerce. Traditionally, however, it also has important non-instrumental social functions, such as the creation of critical scenarios and world pictures, the stimulation of rational attitudes, and the production of enlightened practitioners and independent experts. The transition from academic to ‘post-academic’ science threatens the performance of these functions, which are inconsistent with strictly instrumental modes of knowledge production. In particular, expert objectivity is negated by entanglement with (...) political and commercial interests. We cannot go back to the old academic model for science, but need to consider how to maintain its vital non-instrumental roles. (shrink)

This book encapsulates John Beebe’s influential work on the analytical psychology of consciousness. Building on C. G. Jung’s theory of psychological types and on subsequent clarifications by Marie-Louise von Franz and Isabel Briggs Myers, Beebe demonstrates the bond between the eight types of consciousness Jung named and the archetypal complexes that impart energy and purpose to our emotions, fantasies, and dreams. For this collection, Beebe has revised and updated his most influential and significant previously published papers and has introduced, (...) in a brand new chapter, a surprising theory of type and culture. Beebe’s model enables readers to take what they already know about psychological types and apply it to depth psychology. The insights contained in the fifteen chapters of this book will be especially valuable for Jungian psychotherapists, post-Jungian academics and scholars, psychological type practitioners, and type enthusiasts. (shrink)

This book shows otherwise. John Martin rehabilitates Neoplatonism, founded by Plotinus and brought into Christianity by St. Augustine.

In lieu of an abstract, here is a brief excerpt of the content:WORKS OF FICTION AND ILLOCUTIONARY ACTS by Gregory Currie ii O peech act theory is remarkably unhelpful in explaining what ficOtion is." So says Kendall Walton.1 My purpose here is to showjust how wrong diis judgment is. Not that I want to endorse all die attempts there have been to connect fiction with the notion of a speech act. Elsewhere I have argued diat the most prominent attempt (...) at such a theory, the one due to John Searle, fails.2 But my complaint is not mat Searle employs the idea of a speech act; rather it is that he employs it in too half-hearted a fashion. The idea of Searle and odiers is diat to write fiction is not to perform a speech act, but rather to pretend to do so. I, on the odier hand, take the view that the writer of fiction engages in an act of speech diat is distinctively fictional, and distinctively different from speech acts such as asserting, requesting, questioning, and so forth. What follows is a much simplified account of this idea.3 Following die program of Strawson and Grice, I believe diat the different kinds of speech acts are to be individuated in terms of the utterer's intentions.4 The intention of the one who asserts is to get a certain kind of response; perhaps to get the audience to believe the proposition asserted.5 The one who commands wants the audience to obey, die requester wants the audience to answer, etc. And in all these cases the utterer intends to get the response partly as a result of the audience's recognition of diat very intention. (This is the familiar Gricean mechanism.) The utterer of fiction, on the odier hand, wants to get the audience to make-believe die proposition uttered.6 Thus we have an act structurally similar to 304 Gregory Currie305 paradigmatic speech acts like asserting, commanding, and requesting (die structural similarity being given by the use in all cases of the Gricean intention ), but differing from diese odiers with respect to die content of the utterer's intention. Let us call such an act a.fictive illocutionary act. Pursuing this line in more detail leads to an intuitively satisfactory taxonomy of speech acts which places the uttering (usually writing) of fiction fully widiin die purview of the theory, rather dian shutting it off to one side as a pseudo-performance, as widi Searle. Is such a theory susceptible to the objections diat Walton brings? Walton is quite right to say (and here I suppose he has Searle in mind) that fiction is not simply the absence ofillocutionary force: "it is something positive, something special" (p. 79). As already indicated, my theory gives a positive account of fiction as a special kind of speech act. But Walton presses the issue further by suggesting that the essence of fiction has nodiing to do with die absence of assertive force. It is possible, he says, "to make an assertion by writing fiction." His point is not merely that fictional stories are sometimes told in order to get across some serious but not explicit point — everyone can agree to that. It is rather diat fictional works contain explicit assertions — e.g., some of Tolstoy's sentences about Napoleon in War and Peace — and that a fiction might contain nothing but assertions. He imagines a genre of historical fiction in which "authors are allowed no liberties with the facts, and in which they are understood to be asserting as fact whatever they write" (p. 80). Let us grant that this is a possibility. What, dien, would distinguish a piece of fiction belonging to this genre from, say, a work of historical scholarship? The answer comes when we see that the same utterance can be used to perform more than one illocutionary act. Thus if I say to someone "I have no money" it may be that I want him both to believe that I have no money and to give me the goods on credit. And in both cases I intend to get die desired responses via his recognition of my intentions. The same utterance can count both as an assertion... (shrink)

Sequence on modern ontology -- From theology to philosophy -- The four pillars of modern philosophy -- Modern philosophy : a theological critique -- Analogy versus univocity -- Identity versus representation -- Intentionality and embodiment -- Intentionality and selfhood -- Reason and the incarnation of the logos -- The passivity of modern reason -- The baroque simulation of cosmic order -- Deconstructed representation and beyond -- Passivity and concursus -- Representation in philosophy -- Actualism versus possibilism -- Influence versus concurrence (...) -- Transition -- Sequence on political ontology -- Cosmos, law and morality -- Metaphysics and modern politics -- The fate of the rational animal -- The irony of representation -- On legal concurrence -- The fate of the social animal -- Representation and mixed government -- Bureaucracy and the formal distinction -- Form, matter and contract -- The antiquity of historicism -- The sovereignty of the artist -- Eucharistic creativity and political power -- The conundrum of kingship -- The truth of political fiction -- The two rival constructions -- Creativity and mixed constitution -- Christological constitutionalism -- The fate of the fabricating animal -- The fate of the beast-angel -- The death of charity -- Augustine's three cities -- Church as cosmopolis -- Aquinas and kingship -- The theology of ruling -- The ecumenico-political problem -- Supernatural charity and global order -- Socialism beyond the left -- Critique of all materialisms. (shrink)

Abstract This paper attempts to clarify the debate between those philosophers who hold that the development of science is governed by objective standards of rationality and those sociologists of science who deny this. In particular it focuses on the debate over the ?symmetry thesis?. Bloor and Barnes argue that a properly scientific approach to science itself demands that an investigator should seek the same general type of explanation for all decisions and actions by past scientists, quite independently of whether or (...) not she or he happens to agree with those decisions or approve those actions as ?correct? or ?rational?. I try to improve on previous treatments of the ?rationalist? position (by Lakatos, Laudan, Newton?Smith and Brown) and clarify the exact asymmetries to which the ?rationalist? is, and is not, committed. (shrink)

Yolton insists that Locke's Essay concerning Human Understanding marks the beginning of the great empirical tradition in British philosophy.

In lieu of an abstract, here is a brief excerpt of the content:Hume's Essays on Happiness John Immerwahr The second volume of Hume's Essays, Moral and Political (1742) includes a set offour pieces on the sects, that naturally form themselves in the world. These essays, "The Epicurean," "The Stoic," "The Platonist," and "The Sceptic,"refer to the ancient philosophical schools, but their main purpose, according to Hume, is to describe four different ideas ofhuman life and ofhappiness. There is little discussion (...) ofthese works in the Hume literature, but Hume himself seemed to be rather fond of them. Although several early essays were dropped from later editions, this set reappears in every version of the Essays. Hume also invested unusual care in crafting these essays, "polishingthe sentences with such precision," according to Green and Grose, "that the subsequent editions made scarcely an alteration in their language." In this article I will argue that these essays do play a significant role in Hume's overall philosophical strategy, and that a close reading ofthem helps us fill out important aspects of Hume's moral philosophy. An Attractive Reading of the Four Essays In one of the few detailed discussions of these essays, Robert Fogelin presents one reading that has a good deal of initial plausibility. Fogelin's interpretation has several main points. First, he dismisses the importance of the first three essays and asserts that "despite certain particular points of agreement," these essays are "not expressive ofHume's own position." Secondly, he argues that the final essay, "The Sceptic," does represent Hume's own position, and that in this essay Hume presents himself"under the thinnest possible disguise." In effect, Fogelin'sinterpretation is that"The Sceptic"canbe profitably readinisolationfrom the first three. Finally, Fogelin sees "The Sceptic" as having roughly the same function as the Treatise ofHuman Nature. He sees "The Sceptic" as another technical philosophical work where Hume tries, in a somewhat different way, to work out the relationship between scepticism, morality, and the passions. It is not hard to see what makes this type of interpretation plausible. On stylistic grounds alone, there are reasons to dismiss the first three essays and focus attention primarily on "The Sceptic." The first three are quite brief and are written in a rhetorical and flowery style, whereas "The Sceptic" is longer (as long as the other three essays combined) and returns to Hume's normal prose style. Substantively, Volume XV Number 2 307 JOHN IMMERWAHR there are many doctrines in "The Sceptic" which, as Fogelin correctly points out, are reminiscent of Hume's other philosophical works. An Alternative Reading Despite the plausibility of this reading, I will defend an alternative interpretation. First, I will argue that the essays are intended to be read as a set. The four essays constitute a philosophical dialogue that consists offour closely related speeches; it is misleading to read one of the speeches out of the context of the dialogue as a whole. Secondly, I will try to show that none of the speakers represents Hume's own position. From Hume's point of view, all of the speeches make important points but also contain significant errors. Finally, I will argue that the purpose of these popular essays is different from the goal of technical philosophical works such as the Treatise. While the Treatise is intended to describe and analyze human nature, the purpose ofthese essays is therapeutic rather than analytic; they are designed to change rather than to inform the reader. In the next three sections I discuss these claims in detail. I. Hume's First Dialogue Taken together, the four essays can be read as Hume's first (but by no means last) effort in dialogue writing. The evidence that they were intended by Hume as a dialogue is drawn from what Hume says about them, from internal evidence, and from a comparison with their classical model, the dialogues of Cicero. For the most part, Hume wanted his readers to see his Essays as stand-alone pieces. In the Advertisement for the first volume Hume warns his readers that they must not look for any Connexion among these Essays, but must consider each ofthem as a Work apart. But both in the Advertisement to the second volume (where... (shrink)

Logical Options introduces the extensions and alternatives to classical logic which are most discussed in the philosophical literature: many-sorted logic, second-order logic, modal logics, intuitionistic logic, three-valued logic, fuzzy logic, and free logic. Each logic is introduced with a brief description of some aspect of its philosophical significance, and wherever possible semantic and proof methods are employed to facilitate comparison of the various systems. The book is designed to be useful for philosophy students and professional philosophers who have learned some (...) classical first-order logic and would like to learn about other logics important to their philosophical work. (shrink)

This volume, reproducing a special issue of The Journal of Aesthetics and Art Criticism on &"The Philosophy of Music&" (Winter 1994) with a revised introduction and two new articles, is distinguished by its breadth of content, diversity of approaches, and clarity of argument, which should make it useful for classroom teaching. The topics covered include musical representation, the expression of feeling in music, the metaphysics of operatic speech and song, musical understanding, musical composition, feminist music theory, music and politics, music (...) and racial identity, music in non-Western cultures, and the ontological implications of recording technology for rock music. The approaches used are philosophical, historical, social and political, feminist, and ethnomusicological. The book includes discussions of a great many styles and historical periods of music, from ancient Greek music and music theory to instrumental and operatic music in the Western classical tradition, Persian music, music of the Blackfoot Indians, rock and the blues, and the avant-garde compositions and performances of John Cage. The contributors, all eminent scholars in the field, are Philip Alperson, No&ël Carroll, Stephen Davies, Claire Detels, John Andrew Fisher, Lydia Goehr, Peter Kivy, Jerrold Levinson, James Manns, Bruno Nettl, Jenefer Robinson, Joel Rudinow, G&öran S&örbom, Francis Sparshott, and Kendall Walton. (shrink)

This work is an investigation into the analytical debate on pictorial representation and the theory of pictorial art. My main concern are a critical exposition of the questions raised by the idea that it is resemblance to depicted objects that explains pictorial representation and the investigation of the phenomenon of abstract painting from an analytical point of view in relation to the debate on depiction. The first part is dedicated to a survey of the analytical debate on depiction, with special (...) attention to the fortunes and misfortunes of the resemblance theory of depiction. In the first chapter I give an outline of the main contemporary theories on offer, contextualised within an historical background that stretches from Plato to Descartes. I have decided to focus on the theory of resemblance more than on other approaches on depiction, because much of my research is dedicated to an analysis and implementation of one of the theories that have recently sought to re-discover the resemblance paradigm, although with certain important modifications. Namely, the second chapter is dedicated to the exposition of John Hyman’s basic resemblance theory of depiction, to the elucidation of its presuppositions and to the discussion of some criticisms and objections that the theory has raised. The third and the fourth chapter are dedicated to the implementation of Hyman’s theory in relation to the phenomenon of abstract painting. There are two peculiarities about Hyman’s theory: first, it is in counter-tendency in comparison with all the other accounts of depiction on offer, in that it does not need to conceive of pictorial representation as of representation of particulars or kinds of objects that we can easily identify. Second, it is a theory that gives art a prominent role: Hyman illustrates his claims with many examples taken from the history of figurative art. The second part of my work is inspired by the idea that the basic resemblance theory can be applied to abstract paintings as well. Developing an analysis of abstract painting from an analytical point of view is a task that very few authors have tried to accomplish so far – as far as I am aware. However, it is evident that the task abstract painters have set themselves is interestingly akin to the task philosophers try to accomplish when arguing about depiction. It is widely agreed that one of the main topics of contemporary art is art itself and that one of the main topics of abstract painting is the art of painting itself, the art of producing pictures, the exploration of its limits and its conventions. With these considerations in mind, I have sought to sketch my proposal for a basic resemblance theory of abstract painting, critically engaging with philosophers such as Richard Wollheim, Kendall Walton, Lambert Wiesing and with art-critics and historians such as Clement Greenberg and Ernst Gombrich. (shrink)

This paper addresses what is arguably ?? one of the most fundamental questions in the debate on depiction, What is a Picture? It offers a critical discussion of traditional theories of pictorial representation, such as the Resemblance Theory, Conventionalism, and the Illusion Theory; it introduces and analyses the crucial notions of ‘seeing as’ and ‘seeing in’, and concludes by presenting some of the most recent accounts of depiction defended by Kendall Walton, Dominic Lopes, Robert Hopkins, and John Hyman.

This book presents reverse mathematics to a general mathematical audience for the first time. Reverse mathematics is a new field that answers some old questions. In the two thousand years that mathematicians have been deriving theorems from axioms, it has often been asked: which axioms are needed to prove a given theorem? Only in the last two hundred years have some of these questions been answered, and only in the last forty years has a systematic approach been developed. In Reverse (...) Mathematics, John Stillwell gives a representative view of this field, emphasizing basic analysis--finding the "right axioms" to prove fundamental theorems--and giving a novel approach to logic. Stillwell introduces reverse mathematics historically, describing the two developments that made reverse mathematics possible, both involving the idea of arithmetization. The first was the nineteenth-century project of arithmetizing analysis, which aimed to define all concepts of analysis in terms of natural numbers and sets of natural numbers. The second was the twentieth-century arithmetization of logic and computation. Thus arithmetic in some sense underlies analysis, logic, and computation. Reverse mathematics exploits this insight by viewing analysis as arithmetic extended by axioms about the existence of infinite sets. Remarkably, only a small number of axioms are needed for reverse mathematics, and, for each basic theorem of analysis, Stillwell finds the "right axiom" to prove it. By using a minimum of mathematical logic in a well-motivated way, Reverse Mathematics will engage advanced undergraduates and all mathematicians interested in the foundations of mathematics. (shrink)

This second set of papers by John Rist is concerned with attempts by (mostly pagan) thinkers in Greco-Roman antiquity to understand the nature of morality against a background of wide-ranging debate about the relationship between soul and body and the necessity for a correct psychology and physiology if the 'good life for man' is to be revealed. Three papers are on Plato, whose elaborate mix of ethics, psychology and metaphysics sets the stage for most of the debate; one is (...) on Aristotle, five are on the Stoics and five on Plotinus. A further study deals with the general problem of the relationship between ethics, cosmology and biology, and the series concludes with the crisis among both pagans and Christians in late antiquity over whether man is naturally good enough to correct his own moral weakness. The set of difficulties recognised by Plato has now found a disturbing conclusion. (shrink)

Studie over leven en werk van de Engelse wijsgeer en opvoedkundige (1632-1704).

Henry at Work invites readers to rethink how we work today by exploring an aspect of Henry David Thoreau that has often been overlooked: Thoreau the worker. John Kaag and Jonathan van Belle overturn the popular misconception of Thoreau as a navel-gazing recluse who was scornful of work and other mundanities. In fact, Thoreau worked hard—surveying land, running his family’s pencil-making business, writing, lecturing, and building his cabin at Walden Pond—and thought intensely about work in its many dimensions. And (...) his ideas about work have much to teach us in an age of remote work and automation, when many people are reconsidering what kind of working lives they want to have. -/- Through Thoreau, readers will discover a philosophy of work in the office, factory, lumber mill, and grocery store, and reflect on the rhythms of the workday, the joys and risks of resigning oneself to work, the dubious promises of labor-saving technology, and that most vital and eternal of philosophical questions, “How much do I get paid?” In ten chapters, including “Manual Work,” “Machine Work,” and “Meaningless Work,” this personal, urgent, practical, and compassionate book introduces readers to their new favorite coworker: Henry David Thoreau. (shrink)