The purpose of this paper is to show peirce's critical attitude toward two basic elements in the positivistic view of human knowledge, sensation and hypothesis. by 'positivism' i mean the nineteenth-century brand, this is the version peirce knew and attacked. the logic of the paper is simple. i state the positivistic position as found in the writings of comte, pearson, mach and poincare. i follow with peirce's criticism in the light of his realistic view of sensation and his belief that (...) hypothesis or abduction is a valid form of inference. (shrink)

In this book, leading Christian political thinkers and practitioners critique the Rawlsian concepts of “justice as fairness” and “public reason” from the perspective of Christian political theory and practice. It provides a new level of analysis from Christian perspectives, including implications for such hot topics as the culture war.

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

ABSTRACT The militarization of Alaska during and after World War II created an extraordinary set of new facilities. But it also reshaped the imaginative role of Alaska as a hostile environment, where an antagonistic form of nature could be defeated with the appropriate combination of technology and training. One of the crucial sites for this reformulation was the Arctic Aeromedical Laboratory, based at Ladd Air Force Base in Fairbanks. In the first two decades of the Cold War, its employees (...) conducted numerous experiments on acclimatization and survival. The laboratory is now best known for an infamous set of tests involving the application of radioactive tracers to indigenous Alaskans—experiments publicized by post–Cold War panels established to evaluate the tragic history of atomic-era human subject research. But little else has been written about the laboratory's relationship with the populations and landscapes that it targeted for study. This essay presents the laboratory as critical to Alaska's history and the history of the Cold War sciences. A consideration of the laboratory's various projects also reveals a consistent fascination with race. Alaskan Natives were enrolled in experiments because their bodies were understood to hold clues to the mysteries of northern nature. A scientific solution would aid American military campaigns not only in Alaska, but in cold climates everywhere. (shrink)

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

This essay argues the image of the ‘Mystical Body’ or ‘Body of Christ’ is fully intelligible only in light of the Cross. The Body of Christ is a cruciform Body. As the Body of Christ crucified and risen, it is presently being configured to Christ in the world through self-sacrificial love. The essay traces the place of the Cross in some representative twentieth-century Catholic theologies of the Mystical Body, in light of the perspective of Thomas Aquinas. I first survey four (...) theologians from the first half of the century who, in their understandings of the Mystical Body, gave a place to the Cross: Emile Mersch, Fulton Sheen, Charles Journet, and Pius Pasch. Here I also examine Pope Pius XII's encyclical Mystici Corporis. Second, I explore the approach of some notable Thomistic theologians or interpreters of Aquinas from the early 1960s onward: Jerome Hamer, M. J. Le Guillou, George Sabra, Jean-Pierre Torrell, and Herwi Rikhof. In this section, I also examine Vatican II's Lumen Gentium. My third and final section treats Aquinas himself, in order to reflect upon the place of the Cross in his understanding of the Mystical Body, as found in his biblical commentaries and the Summa theologiae. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Instinct of Nature: Natural Law, Synderesis, and the Moral SenseRobert A. Greene“Instinct is a great matter.”—Sir John FalstaffThis essay traces the evolution of the meaning of the expression instinctus naturae in the discussion of the natural law from Justinian’s Digest through its association with synderesis to Francis Hutcheson’s theory of the moral sense. The introduction of instinctus naturae into Ulpian’s definition of the natural law by Isidore of Seville (...) in the seventh century posed a problem of definition for medieval commentators. Some said that it meant a universal and providential natura naturans; some defined it as the urge to self and species preservation in animals, degenerating in man into sensual and shameful impulses; some advanced the humanistic and paradoxical notion that it referred to a unique exercise of human reason in coming to know the natural law. The contemporaneous revival in the twelfth century of St. Jerome’s puzzling new term “synderesis,” and its gradual definition as the immediate apprehension of the first practical moral principles of the natural law, brought the two terms into proximity and loose association.A half-century later St. Bonaventure made explicit what had remained latent in the thinking of Thomas Aquinas by relocating synderesis in the affective rather than the intellectual part of man’s nature. Accordingly the moral discoveries of synderesis came to be spoken of as not only non-discursive but instinctive in nature—apprehensions for which no reason could be given, apprehensions somehow rooted in affective human experience. During the bilingual early modern period an increasingly secularized, internalized, and reified instinctus [End Page 173] naturae, together with its abbreviated vernacular cognate, “instinct,” came to serve as a substitute and synonym for the obsolescent synderesis. Edward Herbert’s attention to instinctus naturae in his De Veritate (1624), Sir Matthew Hale’s speculations about the place of rational instinct in the natural law, and Francis Hutcheson’s theory of a moral sense all exemplify this semantic legacy.The first entry in Justinian’s Digest has had a disproportionate influence on later speculation about the natural law. It begins a chapter that gives pride of place to general definitions of justice, law, jus naturale and jus gentium, and it is drawn from the writings of the Roman jurisconsult Domitius Ulpianus (d. 223), whose work constitutes forty percent of the Digest. Ulpian defines the natural law, with insistent repetition, as that which nature has taught to, or is common to, all animals:Jus naturale is that which nature has taught to all animals; for it is not a law specific to mankind but is common to all animals—land animals, sea animals, and the birds as well. Out of this comes the union of man and woman [male and female] which we call marriage, and the procreation of children, and their rearing. So we can see that the other animals, wild beasts included, are rightly understood to be acquainted with this law. Jus gentium, the law of the nations, is that which all human peoples observe. That it is not coextensive with natural law can be grasped easily, since this latter is common to all animals whereas jus gentium is common only to human beings among themselves. 1Justinian’s compilers gave Ulpian’s definition striking prominence at the beginning of the Digest and then in the same short chapter quoted the incompatible and more traditional definitions of his contemporaries Gaius and Paulus. They confined the operation of the natural law to mankind and spoke of reason as its source. 2 The compilers had been charged to eliminate just such conflicts; yet here at the very outset they set a conundrum that perplexed commentators [End Page 174] and invited explanation from Isidore of Seville to Hugo Grotius. Their selection of quotations suggests that as lawyers they regarded such general definitions as “for legal purposes no more than ornament to discussion.” 3 For those of a more speculative bent, however, the dilemmas could not have been more fundamental. How was the natural law to be defined in relation to those appetitive and self-preservative urges that man seemed to share with animals? Or did the term law apply only... (shrink)

I distinguish two ways of explaining our capacity for ‘transparent’ knowledge of our own present beliefs, perceptions, and intentions: an inferential and a reflective approach. Alex Byrne (2011) has defended an inferential approach, but I argue that this approach faces a basic difficulty, and that a reflective approach avoids the difficulty. I conclude with a brief sketch and defence of a reflective approach to our transparent self-knowledge, and I show how this approach is connected with the thesis that we must (...) distinguish between a kind of self-knowledge that is of oneself as agent and another kind that is of oneself as patient. (shrink)

This challenging interdisciplinary collection of essays sets out to find cultural significance and value in America’s post modern society. The book includes analyses of a wide range of contemporary cultural artifacts—poetry, novels, myths, painting, cinematic images—from different vantage points, but especially from the perspective of those working in the area of religion and culture. While the contributors recognize that there are no simple solutions for identifying satisfactory values in today’s society, they all emphasize the close kinship between ethics and aesthetics (...) in their interpretations. Imagery of many sorts comes up for a closer look: the imagery of the anti-abortion movement, heroic and mythic figures, rituals, politics, gender issues, and race relations. Giving voice to “difference” and “the other,” the essays provide a lively discussion about where our common future is headed and how we can remain responsible to values that are beneficial to the largest number of people. _Contributors: William G. Doty, David H. Fisher, Matthew Fox, Stephen Karatheodoris, Gary Kochhar-Lindgren, Hank Lazer, Mark Ledbetter, Irena S. M. Makarushka, Daniel C. Noel, Jerome Rothenberg, Lynda Sexson_. (shrink)

Surely since the Enlightenment, if not before, the study of mind has centered principally on how man achieves a “true” knowledge of the world. Emphasis in this pursuit has varied, of course: empiricists have concentrated on the mind’s interplay with an external world of nature, hoping to find the key in the association of sensations and ideas, while rationalists have looked inward to the powers of mind itself for the principles of right reason. The objective, in either case, has been (...) to discover how we achieve “reality,” that is to say, how we get a reliable fix on the world, a world that is, as it were, assumed to be immutable and, as it were, “there to be observed.”This quest has, of course, had a profound effect on the development of psychology, and the empiricist and rationalist traditions have dominated our conceptions of how the mind grows and how it gets its grasp on the “real world.” Indeed, at midcentury Gestalt theory represented the rationalist wing of this enterprise and American learning theory the empiricist. Both gave accounts of mental development as proceeding in some more or less linear and uniform fashion from an initial incompetence in grasping reality to a final competence, in one case attributing it to the work out of internal processes or mental organization, and in the other to some unspecified principle of reflection by which—whether through reinforcement, association, or conditioning—we came to respond to the world “as it is.” There have always been dissidents who challenged these views, but conjectures about human mental development have been influenced far more by majoritarian rationalism and empiricism than by these dissident voices. Jerome Bruner is research professor of psychology at New York University, where he is also serving as Meyer Visiting Professor of Law. His most recent book, Acts of Meaning, appeared in 1990. In 1987 he received the Balzan Prize for “a lifetime contribution to the study of human psychology.”. (shrink)

Bruner sets forth nothing less than a new agenda for the study of the mind. He examines the irrepressibly human acts of imagination that allow us to make experience meaningful; he calls this side of mental activity the “narrative mode,” and his book makes important advances in the effort to unravel its nature.

In the philosophy of logic, the Adoption Problem is a challenge to the claim that reasoners can, in certain ways, rationally change which logic they use. The (alleged) problem is that if someone does not already infer in accordance with some fundamental logical principles (such as Universal Instantiation or Modus Ponens), then they cannot rationally begin to do so: the “adoption” of these principles is either unnecessary or impossible. In the literature, three issues have emerged as especially contentious: (1) How (...) should we understand the argument for the Adoption Problem? What exactly is the argument’s conclusion, and how is it established, if at all? (2) How could someone who thinks that the rational adoption of logic is possible respond to the Adoption Problem? (3) What are the consequences of the Adoption Problem for related issues in the philosophy of logic? In this paper, we address each question in turn. We suggest that the Adoption Problem is best understood in the form of an inconsistent quartet of theses regarding logical inference. We classify positions on logical adoption in terms of which of these theses is abandoned, and we show that such a taxonomy of positions is useful for delineating the scope and consequences of the Adoption Problem. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:At St. Isidore’s Franciscan College in Rome, the following maxim attributed to St. Patrick is inscribed above the door-way of the church: Si quae difficiles quaestiones in hac insula oriantur ad Sedem Apostolicam referantur; ut Christiani ita et Romani sitis.1 The college was founded in 1625 by Luke Wadding, O.F.M. and, under his direction, became a major seat of theological learning and political influence for the Irish in Rome.2 (...) In the nineteenth century, the Friars Minor of the Province of Ireland assigned many documents from St. Isidore’s for use in their Irish friaries. In 1872, amid the unrest caused by the Risorgimento, medieval and early-modern Irish Franciscan manuscripts were transferred to Dublin.3 At the Merchants’ Quay Convent, the librarians T.A. O’Reilly, O.F.M. and E.B. Fitzmaurice, O.F.M. divided the manuscripts into sections with alphabetically ordered shelf-marks.4 This practical approach followed the long-established system used at Italian libraries and archives in Franciscan custody.5 From 1947 until 2000, the manuscripts of the Irish Friars Minor were kept at the Franciscans’ Dún Mhuire House of Studies in Killiney, County Dublin, before their transfer to the Archives, University College Dublin.The ‘D’ collection is preserved in twenty-six sets of volumes, folders and boxed papers. The greater part consists of Luke Wadding’s correspondence, relating to his activities as theologian, historian, Irish agent in Rome and consultor to several congregations and commissions at the papal secretariat.6 In the 1920s, Paul Grosjean, S.J. included four manuscripts then housed at Merchants’ Quay in a catalogue of hagiographical works.7 Clement Schmitt, O.F.M. treated of a collection of the Franciscan documents kept in Dublin in 1964.8Letters to and from Luke Wadding are also preserved at the Vatican Library; the Archivo Generale at the General Curia of Friars Minor, Rome; the Biblioteca Landiana, Piacenza; the Biblioteca Nazionale, Naples; the Biblioteca Ambrosiana, Milan; the Archives of the Bollandists, Brussels; the Archives Générales de Royaume, Brussels; the Von Harrach Archive, Vienna; and the Franciscan friary of St. Jerome in Vienna.9Compared to some six hundred that Luke Wadding received, “the text of approximately one hundred of his letters, in whole or in part, has survived.”10 Nearly all Wadding’s extant correspondence dates from the three decades after the publication of his Acta legationis on the doctrine of the Immaculate Conception in 1624. Most of his letters were sent from St. Isidore, some from the friaries of Aracoeli and San Pietro in Montorio, Rome, and a few from Naples.11Luke Wadding was born in Waterford on October 16, 1588, the eleventh of fourteen children.12 He was baptized two days later on the Feast of St. Luke. His father Walter was a well-established Waterford merchant and his mother Anastasia a kinswoman of the prominent Lombard family of Waterford. After the death of his parents, Luke left Ireland with his elder brother, Matthew, who enrolled him at the Irish Jesuits’ College in Lisbon. At seventeen years of age, Wadding made his way to Matozinhos in northern Portugal, near Oporto, where he entered the Franciscan Order. On completion of his novitiate, Wadding’s superiors sent him to the University of Coimbra and from there, to Salamanca. At Easter 1613, Luke Wadding was ordained to the priesthood after his studies. He was then appointed as a professor of theology at the Franciscan College of León and later at his own alma mater, Salamanca.13Called to the Spanish capital, Luke Wadding stayed at the Convent of Jesus and Mary in the south-east of Madrid where “lived not only the heads of the Franciscan Order in Spain but also the principal preachers.”14 Such was the distinction Wadding achieved that he was chosen by Philip III for the office of theologian in the embassy sent to defend the doctrine of the Immaculate Conception in Rome.15 He lived there for almost forty years, in which time he founded St. Isidore Franciscan College, the.. (shrink)

First published in 1977, Emotion, Thought and Therapy is a study of Hume and Spinoza and the relationship of philosophical theories of the emotions to psychological theories of therapy. Jerome Neu argues that the Spinozists are closer to the truth; that is, that thoughts are of greater importance than feelings in the classification and discrimination of emotional states. He then contends that if the Spinozists are closer to the truth, we have the beginning of an argument to show that (...) Freudian or analytic therapies make philosophic sense. Throughout the book, careful attention is paid to modern discussions in philosophy of mind and psychology, and materials from anthropology and other relevant disciplines are considered. At the centre of the discussion is the notion of ‘thought-dependence’. Therapies for psychological disorders are placed along a spectrum in accordance with the role they assign to thoughts. The Spinozist view of the emotions can be seen as at the extreme thought end of a corresponding spectrum of theories of the emotions. The book suggests that this stream may help explain the spectrum of therapeutic theories and the possibilities that exist for psychological development and change. This book will be of interest to students of philosophy, psychology and counselling. (shrink)

Matthew Arnold was born at Laleham-on-Thames on 24 December 1822 as the eldest son of Dr Thomas Arnold and his wife Mary. He was educated at Winchester College, his father's old school; Rugby, where his father was headmaster; and Oxford. In 1851 he was appointed Inspector of Schools, pursuing this taxing career to support his wife and family until his retirement in 1886. He published his first volume of verse, The Strayed Reveller, and other Poems, in 1849 followed by (...) Empedocles on Etna, and other Poems (1852) and five further collections which appeared, with a diminishing number of new poems in each, between 1853 and 1867, after which his creative gift appeared to dwindle still further and he published little poetry. His career as a writer of prose began to take over after his election to the Professorship of Poetry at Oxford in 1857. Stimulated by preparing his lectures, many of the earliest published in 1865 as Essays in Criticism (First Series), he turned increasingly to the vigorous and widely ranging polemical commentaries on culture, religion, and society which were to make him known at home and abroad as the foremost critic of his day. He died suddenly of heart failure on 15 April 1888 while awaiting at Liverpool the arrival of his married daughter from America. (shrink)

Writing in his pamphlet, De viris illustribus, St. Jerome informs us that Fortunatianus, bishop of Aquileia, wrote a Commentary on the Gospels. However, until a few years ago, we knew only a few fragments of this work. Now, thanks to the scholar Lukas Dorfbauer and to the manuscript Köln – D, we have the complete work. This paper presents this work, pending a critical edition, in which the Author dwells on the text of the Gospel of Matthew, capturing (...) Fortunatianus’s interpretation and his references to the Church. To this are added some thoughts about the Church found in the commentaries of other Church Fathers of the fourth century. (shrink)

Argues that educators should help students piece together authentic narratives about themselves and about society, and not to focus so much on teaching students to process information.

Closely related to this is Mr. Bruner's "evolutionary instrumentalism," his conception of instruction as the means of transmitting the tools and skills of a ...

This paper presents a general computational treatment of how mammals are able to deal with visual objects and environments. The model tries to cover the entire range from behavior and phenomenological experience to detailed neural encodings in crude but computationally plausible reductive steps. The problems addressed include perceptual constancies, eye movements and the stable visual world, object descriptions, perceptual generalizations, and the representation of extrapersonal space.The entire development is based on an action-oriented notion of perception. The observer is assumed to (...) be continuously sampling the ambient light for information of current value. The central problem of vision is taken to be categorizing and locating objects in the environment. The critical step in this process is the linking of visual information to symbolic object descriptions; this is calledindexing, from the analogy of identifying a book from index terms. The system must also identifysituationsand use this knowledge to guide movement and other actions in the environment. The treatment focuses on the different representations of information used in the visual system.The four representational frames capture information in the following forms: retinotopic, head-based, symbolic, and allocentric. The functional roles of the four frames, the communication among them, and their suggested neurophysiological realization constitute the core of the paper. The model is perforce crude, but appears to be consistent with all relevant findings. (shrink)

Second, this collection of cognitive programs evolved in the Pleistocene to solve the adaptive problems regularly faced by our hunter-gatherer ancestors-...