The problem of the critical assessment of theories across paradigms raised by Kuhn is not resolved, it is argued, either by Scheffler's appeal to initial credibility or by Lakatos' conception of a research program. It is argued further that, in these contexts, the notion of reasonable choice by individuals makes no sense. The conclusion supports Feyerabend's position of "epistemological anarchism.".

In a book and a series of articles Harold I. Brown has presented “the new theory of science”, which he characterizes as a “modest historicism”. I propose to examine Brown's contribution to the current debate on scientific method, and to show the inadequacy of his proposals. In particular, I want to concentrate on a fundamental concern of Brown's, namely, rationality.

Recent downward trends in corporate giving have renewed interest in the factors that shape corporate philanthropy. This paper examines the relationships between charitable contributions, firm size and industry. Improvements over previous studies include an IRS data base that covers a much broader range of firm sizes and industries as compared to previous studies and estimation using an instrumental variable technique that explicitly addresses potential simultaneity between charitable contributions and profitability. Important findings provide evidence of a cubic relationship between charitable giving (...) and firm size and evidence of strong industry effects. The plus-minus-plus regression coefficient sign pattern for the cubic firm size model suggests that small and large firms give more relative to total receipts with lower giving ratios among medium size firms. One interpretation for this finding is that small firms are close to the communities they serve while high visibility creates a need for large firm philanthropy. Strong industry effects provide evidence of inter-industry differences in giving culture and/or different public relations requirements across industries. (shrink)

With several never-before published writings, this volume gathers Althusser's major essays on psychoanalytic thought----documenting his intense and ambivalent relationship with Lacan, and dramatizing his intellectual journey and troubled personal life.

John Rawls famously holds that the basic structure is the 'primary subject of justice.'1 By this, he means that his two principles of justice apply only to a society's major political and social institutions, including chiefly the constitution, the economic and legal systems, and (more contentiously) the family structure.2 This thesis — call it the basic structure restriction — entails that the celebrated difference principle has a narrower scope than one might have expected. It doesn't apply directly to choices that (...) individuals make within the basic structure. Individuals can live up to the demands of justice simply by obeying whatever rules are set by, and by doing what is necessary to sustain, the basic .. (shrink)

A lively and accessible history of Modernism, _The First Moderns_ is filled with portraits of genius, and intellectual breakthroughs, that richly evoke the _fin-de-siècle_ atmosphere of Paris, Vienna, St. Louis, and St. Petersburg. William Everdell offers readers an invigorating look at the unfolding of an age. "This exceptionally wide-ranging history is chock-a-block with anecdotes, factoids, odd juxtapositions, and useful insights. Most impressive.... For anyone interested in learning about late 19th- and early 20th- century imaginative thought, this engagingly written book (...) is a good place to start."—_Washington Post Book World_ "_The First Moderns_ brilliantly maps the beginning of a path at whose end loom as many diasporas as there are men."—Frederic Morton, _The Los Angeles Times Book Review_ "In this truly exciting study of the origins of modernist thought, poet and teacher Everdell roams freely across disciplinary lines.... A brilliant book that will prove useful to scholars and generalists for years to come; enthusiastically recommended."—_Library Journal_, starred review "Everdell has performed a rare service for his readers. Dispelling much of the current nonsense about 'postmodernism,' this book belongs on the very short list of profound works of cultural analysis."—_Booklist_ "Innovative and impressive... [Everdell] has written a marvelous, erudite, and readable study."-Mark Bevir, _Spectator_ "A richly eclectic history of the dawn of a new era in painting, music, literature, mathematics, physics, genetics, neuroscience, psychiatry and philosophy."—Margaret Wertheim, _New Scientist_ "[Everdell] has himself recombined the parts of our era's intellectual history in new and startling ways, shedding light for which the reader of _The First Moderns_ will be eternally grateful."—Hugh Kenner, _The New York Times Book Review_ "Everdell shows how the idea of "modernity" arose before the First World War by telling the stories of heroes such as T. S. Eliot, Max Planck, and Georges Serault with such a lively eye for detail, irony, and ambiance that you feel as if you're reliving those miraculous years."—Jon Spayde, _Utne Reader_. (shrink)

ADMINISTRANDO VIDAS SECAS: ENSAIO SOBRE OS RELATOS DE GRACILIANO RAMOS EM SUA EXPERIÊNCIA COMO PREFEITO DE PALMEIRA DOS ÍNDIOS/AL.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

Alexander Crichton (1763—1856) made significant contributions to the medical theory of the passions, yet there exists no systematic exegesis of this particular aspect of his work. The present article explores four themes in Crichton's work on the passions: (1) the role of irritability in the physiology of the passions; (2) the manner in which irritability and sensibility contribute to the valence, or polarity, of the passions; (3) the elaboration of a psychopathology of the passions that emphasizes their physiological form rather (...) than meaningful content or connections; and (4) the insistence that medical science ought to ignore ethical and other `moral' psychological and social aspects of the passions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS The Growth of Mysticism: Gregory the Great through the 12th Century, volume two of The Presence of God: A History of Western Christian Mysticism. By BERNARD MCGINN. New York: Crossroad, 1994. Pp. xv + 630. $49.50. This second volume of the History of Western Mysticism covers the period from the sixth through the twelfth century, from Gregory the Great to the Victorines. It fully lives up to (...) the high expectations raised by the first part and displays the same skill in presenting the fruit of enormous learning in a clear, comprehensible manner. The compact section of notes, occupying onethird of the volume, shows how well the author has succeeded in mastering the abundance of sources, primary and secondary, the current Renaissance of medieval studies has rendered available. Undaunted by the mass of recent literature McGinn's established and constantly renewed acquaintance with the original texts enables him judiciously and critically to compare interpretations and judgments. Method and balance mark this work as much as learning and erudition. Its unadorned but easy style, the language of the lectern, renders his work accessible to a wider public, even if the casual tone does not always reflect the intensity of its subject. The author has structured his study around four major figures: Gregory the Great (sixth century), Scottus Eriugena (ninth), Bernard and William of Saint-Thierry (twelfth). They form the centers of three spiritual epochs of the early Middle Ages. Each one of these periods is introduced by informative chapters on the general conditions of spiritual life. The study concludes with a chapter on visionaries who belong to none of the schools represented by the key figures and a chapter on Victorine writers that already prepares for the next volume on the high season of Christian mysticism. The simple structure allows each of the great ones to be given a full chapter. Rather than drowning his survey in an abundance of forgettable names as encyclopedic histories tend to do, McGinn has accommodated the minor figures in his transition chapters where general headings dominate individual characteristics. By devoting so much space to the great ones, the author has transformed much of what could have remained a mere survey into a series of monographs. It enabled him to highlight the unique significance of at least two previously neglected figures in the rather arid span of time that separates the patristic period from the flowering of the twelfth century: Scottus Eriugena and William of Saint-Thierry. Eriugena's intellectual importance has been established for some time, yet mainly with historians of philosophy and Neoplatonist thinkers. Here he appears as the key thinker who transmits 475 476 BOOK REVIEWS Dionysius's negative theology to the Latin West and who prepares the new mysticism of the divine image that was to culminate in Eckhart and Ruusbroec. Was Eriugena a mystic? The question returns us to the provisional definition given in the general Introduction and consistently maintained throughout volume one and most of volume two. There we learned that "mystical" refers to any belief, system, or practice conducive to the experience of God's presence (vol. I, p. xvii). This definition happily replaces the one adopted through much of the modem period of exclusively private, mostly exceptional, experiences and the unusual expressions (visions, raptures, etc.) that often accompany them. Professor McGinn presents a more objective and more controllable criterion. He extends the mystical to a more or less direct consciousness of the divine presence as evident in texts that witness of, or are conducive to, such a consciousness. This sensible change enables him to include a great many theological texts of the first millennium without having to worry about the degree of their authors' subjective awareness of God's presence and to avoid the predicament to which all attempts to ascertain another person's private experience lead. Before the twelfth century almost no reports of private experiences exist and the ones that do exist, such as Augustine's "vision" of Ostia, so closely follow an established Neoplatonic pattern that they leave us wondering about their private nature. His more objective approach also dispensed the author from having to be overly concerned about the fine, in the early... (shrink)

In the literature, there are many axiomatizations of qualitative probability. They all suffer certain defects: either they are too nonspecific and allow nonunique quantitative interpretations or are overspecific and rule out cases with unique quantitative interpretations. In this paper, it is shown that the class of qualitative probability structures with nonunique quantitative interpretations is not first order axiomatizable and that the class of qualitative probability structures with a unique quantitative interpretation is not a finite, first order extension of the theory (...) of qualitative probability. The idea behind the method of proof is quite general and can be used in other measurement situations. (shrink)

Various proposals for generalizing event spaces for probability functions have been put forth in the mathematical, scientific, and philosophic literatures. In cognitive psychology such generalizations are used for explaining puzzling results in decision theory and for modeling the influence of context effects. This commentary discusses proposals for generalizing probability theory to event spaces that are not necessarily boolean algebras. Two prominent examples are quantum probability theory, which is based on the set of closed subspaces of a Hilbert space, and topological (...) probability theory, which is based on the set of open sets of a topology. Both have been applied to a variety of cognitive situations. This commentary focuses on how event space properties can influence probability concepts and impact cognitive modeling. (shrink)

The evolution of the internet and associated social media pose novel challenges for psychiatric ethics. Issues surrounding emotional contagion, personal identity, and misinformation figure importantly among these new challenges, with important consequences for consumers of mental health services, as well as psychiatrists and other mental health professionals. The evolution of the internet and associated social media pose novel challenges for psychiatric ethics. Issues surrounding emotional contagion, personal identity, and misinformation figure importantly among these new challenges, with important consequences for consumers (...) of mental health services, as well as psychiatrists and other mental health professionals. (shrink)