La première partie de Particle rend compte des conditions philosophiques et du contexte historique dans lequel s'est développée la conception du probable chez Wolff. La seconde met trois aspects de cette conception en relief: 1) la distinction entre la probalité d'un évènement et la probalité d'une proposition, 2) l'interprétation du principe d'égale possibilité en tant que principe de cause non-suffisante, 3) les quelques restrictions conservés par Wolff à l'égard de la validité et des domaines d'application du principe d'égale possibilité. La (...) troisième partie traite de ce que l'on nomme les „experientiae indubitatae". Elles se fondent sur une notion de la certitude qui peut être interprétée comme cas limite de la probabilité. Les certitudes de cette sorte sont acceptées par Wolff comme les premisses d'une preuve. De cette façon Wolff utilise sa conception de la probabilité pour unir les exigences de la raison et celles de l'expérience et débouche sur une conception de la science qui dépasse celle en cours jusque-là. A partir d'elle, il essaye de réaliser le programme rationaliste de l'édification des sciences empiriques. (shrink)

How can the sacred be artistically expressed? The answer to this question depends greatly on the precise relation of the aesthetic to the religious experience. F. David Martin considers them both to be participative experiences which reveal the ontological beyond the ontic. Yet while the aesthetic experience and its artistic expression only implicitly attain Being as transcendent, religious art conveys an explicit awareness of transcendence. Religious expressiveness is achieved by a strong embodiment of the iconic element present in all art. (...) Still without the addition of conventional symbols iconic symbols can never become explicitly religious. The presence of conventional religious symbols alone, however, is not sufficient to sacralize art. A painting may remain secular even if it represents a Madonna. To function religiously it also needs what the author terms an "iconic foundation." Thus the religious dimension of art appears on three levels: 1) in the artistic expression as such which, even though it may not articulate religious feelings, is implicitly religious by letting Being shine forth; 2) in the evocation of Being-as-transcendent by means of iconic symbols, which remains still religiously ambiguous; 3) in the clear assertion of transcendent Being by iconic and conventional symbols, which is explicitly religious. The thesis is developed successively for music, painting, literature, and architecture. Each chapter is illustrated with appropriate examples testifying to the author’s unusual aesthetic sensitivity. (shrink)

Suppose libertarians could prove that durable, unqualified private property rights could be created through 'original acquisition' of unowned resources in a state of nature. Such a proof would cast serious doubt on the legitimacy of the modern state. It could also render the approach to property rights that I favour irrelevant. I argue here that none of the familiar Lockean-libertarian arguments for a strong natural right to acquisition succeed, and that any successful argument for grounding a right to acquire would (...) have to use my favoured approach to property rights - the 'vector-sum' approach. I conclude with some doubts about original acquisition theory and natural property rights. (shrink)

Recent work in the ontology of music suggests that we will avoid confusion if we distinguish between two kinds of question that are typically posed in music ontology. Thus, a distinction has been made between fundamental ontology and higher-order ontology. The former addresses questions about the basic metaphysical options from which ontologists choose. For instance, are musical works types, indicated types, classes of particulars, or some other kind of entity? Higher-order ontology addresses the question of what lies ‘at the centre’ (...) of a specific form of music, such as rock or jazz—or perhaps classical music. The argument of this essay is, first, that a close examination of the best efforts in two of these territories shows that they have the effect of pressing the music in each sphere into implausible Procrustean beds. Second, it is argued that the general question that higher-order ontologies pose, that is, ‘What work-kind is it that lies at the centre of a given kind of music, F?’ is a question based on a mistaken but seductive assumption, namely that the concept of the work of F has actual application. In fact, these concepts—upon which higher-order ontology depends—are mere artefacts of philosophy. The question is also addressed why the assumption is so seductive. Finally, the question finally is posed about what, if anything, is implied from the foregoing about the traditional ontology of classical music. (shrink)

This paper continues a discussion concerning the distinction between disability and handicap initiated in this volume by Steven D. Edwards. Edwards argues that the reasons advanced by the WHO for this distinction in its International Classification of Impairments, Disabilities and Handicaps (ICIDH) are not valid. Edwards also criticizes my own quite different grounds for distinguishing between the two concepts. His general conclusion is that the distinction is superfluous. In this paper I claim that Edwards's reasoning is invalid. I present five (...) arguments for my case, viz., the arguments from: a) practical necessity, b) cost-effectiveness, c) clinical practice, d) the subject's vital goals, and e) the universal presence of some basic action. My own conclusion thus is that there is a need within health care for a distinction between disabilities and handicaps. I also indicate that there may be a need for further distinctions along the dimension of action-generation which is presented in the paper. (shrink)

It is well known that when resolution occurs in the stichic iambics and trochaics of tragedy word-end is not found between the two shorts so produced: w or, more accurately, that the first short of resolution must not be the last syllable of a polysyllabic word. Moreover, the syllables in resolution most often form part of the same word as the following short or anceps, e.g.: Ion 1143.

There is no subject at the interface of law, psychiatry and medical ethics which is more controversial than psychosurgery. The divergent views of the treatment begin with its definition. The World Health Organisation1 and others2 define psychosurgery as the selective surgical removal or destruction of nerve pathways or normal brain tissue with a view to influencing behaviour. However, proponents of psychosurgery demur on the basis that the `modern' treatment is concerned predominantly with emotional illness, without any specific effect upon behaviour. (...) The alternative definition offered is `the surgical treatment of certain psychiatric illnesses by means of localised lesions placed in specific cerebral sites.3It is difficult entirely to accept this definition because, as examined below, scientific psychiatry is not yet in a position to directly treat psychiatric illness solely through surgical intervention. There is no reliable theoretical relationship between particular cerebral sites (which are normal and healthy) and an identifiable psychiatric illness or symptomatology. Given this state of psychiatric understanding, it is misleading to suggest fine distinctions between generalised alteration of behaviour or mood and treatment of an illness. Highly divergent practices and theories (relating to the multiplicity of conditions treated, surgical methods adopted and areas of the brain operated upon) further undermine exaggerated claims that psychosurgery can scientifically `treat' specific illness through precise surgical intervention. Nonetheless, contemporary psychosurgery does not contain quite the same `broadbrush' approach of its ancestors and it can lay some legitimate claim as an effective empirical treatment in narrowly limited circumstances. Major ethical problems still, however, arise and these will be discussed in this article. (shrink)

I. Singminji sigi p'yŏn -- II. Chŏnhwan'gi ŭi iron oe.

D. Blumbergi identifies three kinds of moral criticism: (i) of an individual for violating a moral practice in his society, (2) of a moral practice but not the individual who participates in it, and (3) of both an individual and the practice in accordance with which he acts ('practice-personal' criticism) (p. 348). According to Mr. Blumberg, successful derivation of a conclusive 'ought'-statement from statements about socially-created obligations would show how moral criticisms of type 1 are justified. Moral criticisms of type (...) 2 would still be allowed, but not those of type 3. -/- I discuss the following points made by Blumberg: (A) Criticism of type 1 is 'the most common kind of moral judgment' (p. 356); (B) Searle dispensed 'with the conclusive aspect of the conclusion, and with it the finality of the derivation, when it began to seem unrealizable' (p. 356); (C) 'It is impossible to derive conclusive "ought"-statements embodying our traditional moral outlook from statements about socially-created obligations, . . .' (p. 355); (D) 'Either we surrender the attempt to derive a conclusive "ought" -statement from statements about socially-created obligations, or else we must surrender our right to make practice-personal criticisms' (p. 357). -/- I argue that conclusiveness in judgments, both moral and non-moral, is always relative to the range of reasons weighed, the implications of action considered. Therefore 'ought' must always be taken to be context-bound just as moral principles are taken to be defeasible, elliptical. This interpretation of 'ought' and 'conclusive' as bound to a context, point of view or framework, is quite consistent with Searle's distinction between what is internal and external to an institution. (shrink)

The shape of hooks is of a taxonomic significance for cestoda. In order to characterize shape through numbers, a mathermatical model of drawings in two-dimensional space is proposed. This model is a synthetic one: first, it uses a large number of points on the edge of a hook-drawing as data; secondly, it enables to draw a specific hook by means of a computer after the parameters have been extracted from the data. The method does not use landmarks and therefore avoids (...) the difficulty of locating them. The ensuing discussion concerns description in common parlanceversus mathermatical language, the genesis of hooks and description in three-dimensional space. (shrink)

On the life and works of ancient Jaina philosophers.

Let A₁,..., An, An+1 be a finite sequence of algebras of sets given on a set X, $\cup _{k=1}^{n}{\cal A}_{k}\neq \germ{P}(X)$, with more than $\frac{4}{3}n$ pairwise disjoint sets not belonging to An+1. It was shown in [4] and [5] that in this case $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. Let us consider, instead An+1, a finite sequence of algebras An+1,..., An+l. It turns out that if for each natural i ≤ l there exist no less than $\frac{4}{3}(n+l)-\frac{l}{24}$ pairwise disjoint sets not belonging (...) to An+i, then $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. But if l ≥ 195 and if for each natural i ≤ l there exist no less than $\frac{4}{3}(n+l)-\frac{l}{15}$ pairwise disjoint sets not belonging to An+i, then $\cup _{k=1}^{n+1}{\cal A}_{k}\neq \germ{P}(X)$. After consideration of finite sequences of algebras, it is natural to consider countable sequences of algebras. We obtained two essentially important theorems on a countable sequence of almost σ-algebras (the concept of almost σ-algebra was introduced in [4]). (shrink)

Written with the general reader in mind, this collection will prove useful by both scholar and student, and will lead the general reader to encounter one of the ...