Index to the Majjhima-nikaya, by M. Yamazaki & Y. Ousaka, pp. xi + 473, £35.50. ISBN 0 86013 421 0.

Logical pluralism is the view that there is more than one correct logic. In this article, I explore what logical pluralism is, and what it entails, by: (i) distinguishing clearly between relativism about a particular domain and pluralism about that domain; (ii) distinguishing between a number of forms logical pluralism might take; (iii) attempting to distinguish between those versions of pluralism that are clearly true and those that are might be controversial; and (iv) surveying three prominent attempts to argue for (...) logical pluralism and evaluating them along the criteria provided by (ii) and (iii). (shrink)

Using covariant derivatives and the operator definitions of quantum mechanics, gauge invariant Proca and Lehnert equations are derived and the Lorenz condition is eliminated in U(1) invariant electrodynamics. It is shown that the structure of the gauge invariant Lehnert equation is the same in an O(3) invariant theory of electrodynamics.

In the words of film critic Roger Ebert, "The last scene of City Lights is justly famous as one of the great emotional moments in the movies."1 What accounts for its success? In the course of what follows I will suggest that a pair of structural elements—reversal and recognition, first described by Aristotle—underlie the scene, and account in large measure for its emotive power.The scene is available for viewing on the internet by searching on "City Lights last scene." For those (...) who have not seen the film, I offer the following recap.The Little Tramp falls in love with a blind flower girl, who mistakenly believes he's rich. He also becomes entangled with an... (shrink)

Depressive symptoms and disorders are major public health concerns, affecting many adolescents and young adults. Despite extensive research, depression prevention programs for youth show limited effectiveness. Moreover, the maximal potential of youth psychotherapy — on which depression prevention programs are based — may have been reached. Commercial video games may offer an engaging alternative vehicle for youth to practice emotional and social skills vital to mental health. The current study investigated the potential for the commercial video game Journey to prevent (...) the exacerbation of depressive symptoms. A pre-registered randomized controlled trial tested the effectiveness of Journey as an indicated depression prevention approach compared to a control game condition and a passive control condition. Additionally, potential action mechanisms for depression prevention using video games were examined. Participants aged 15 to 20 years old with elevated depressive symptoms were given 4 weeks to play Journey or the control game, Flower. Results showed no beneficial effects of playing the commercial video game, Journey, on youth’s change in depressive symptoms above and beyond the active and passive control conditions up to 12-months after the intervention. Additionally, no action mechanisms were found specifically for Journey. Nevertheless, over the whole study, participants decreased in depressive symptoms, became less sensitive to rejection, and experienced more hope and optimism. Moreover, participants who during the study decreased in rejection sensitivity or rumination or who increased in hope and optimism or in distraction and problem solving showed the strongest decrease in depressive symptoms. Although results do not support the use of the studied commercial game as an effective indicated depression prevention strategy, our results do suggest that rejection sensitivity, hope, optimism, rumination, distraction, and problem solving are promising targets for future depression prevention efforts. We conclude with important lessons for future research on games to promote mental health. Particularly, encouraging careful consideration of research designs to explore for whom and how potential action mechanisms and associated game mechanics may be effective. (shrink)

Reprint of the original, first published in 1919.

Let me start with my general thesis: that psychoanalysis has gone through three phases. It has been a psychology first of the unconscious, second as psychology of the ego, and today, I believe, a psychology of the self. . . . To a surprising extent, the modern American literary critic has sought the same impersonal, generalized kind of quasi-scientific knowledge. We anglophones reacted against the over-indulgence in subjectivity by Victorian and Georgian critics. We also reacted against the uncritical use of (...) extraliterary knowledge, connections that were often aimless and unconvincing between literary works and their authors' autobiographies or literary periods. We sought instead an analytical rigor, at first by searching out the organic unity of particular literary works, then by extending the methods of close reading we developed that way to the total works of an author, to myths and popular arts, to the language of everyday life, and even to such artifices as Volkswagens, supermarkets, and political candidates. Norman N. Holland is professor of English and director of the Center for the Psychological Study of the Arts at the State University of New York at Buffalo. He is the author of six books, of which Psychoanalysis and Shakespeare , The Dynamics of Literary Response , Poems in Persons , and Five Readers Reading deal directly with problems of psychological criticism. His contributions to Critical Inquiry are "Human Identity" and "Why Ellen Laughed". (shrink)

En 1983, Cedric J. Robinson introduit sous le titre d’une « tradition radicale noire », l’idée d’une généalogie spécifiquement africaine de la lutte contre l’esclavagisme, le capitalisme et l’impérialisme, distincte du marxisme européen. La pensée « afropessimiste»s’inspire d’Hortense Spillers pour mesurer les conséquences de la soustraction des Noirs aux ordres de l’humanité et de la subjectivité politique, en une violence qui convertit les vies africaines en chair. Le poète et théoricien africain américain Fred Moten revisite aujourd’hui ces pensées en inventant (...) un « optimisme noir », qui entend faire valoir l’ambivalence et l’ambiguïté de la noirceur, soulignant ses potentialités particulières et désignant dans « la chair » une possibilité de formuler de nouvelles formes de vie. (shrink)

. Angels in the archive: Lines into the future in the work of Jacques Derrida and Michel Serres. Cultural Values: Vol. 2, No. 2-3, pp. 206-222.

Bastiat belonged to the optimist French tradition of liberal economic thought. Following Jean-Baptiste Say, he argued that the market was immensely creative in the discovery of new opportunities for improving human well-being and creating social harmony. He also recognized the importance of the entrepreneur, who earned a profit in contrast to the capitalist who simply earned a return for his investment. Although he was no great theorist, Bastiat demonstrated with relentless informal logic the social value of freedom. This is best (...) exemplified in his demonstration of the virtues of free trade. Bastiat anticipated modern public choice theory with his argument that people tried to use the coercive power of the state to get what they would not achieve by market transactions. He was also concerned with the moral virtue of liberty and in his final work, The Law, he showed how the modern system of law had been perverted. Instead of protecting individual rights it had become an instrument of plunder. Socialism was most malevolent form of plunder.Bastiat appartenait à la tradition optimiste française de la pensée économique libérale. Dans la lignée de Jean-Baptiste Say, il considérait que l’économie de marché recelait une créativité significative ouvrant sur la découverte de nouvelles opportunités permettant d’améliorer le bien-être humain et donnant parallèlement lieu a une harmonie sociale. Bastiat avait aussi conscience de l’importance de l’entrepreneur, celui qui glane des profits contrairement au capitaliste qui perçoit simplement une rémunération pour ses investissements. Bien que n’étant pas un très grand théoricien, Bastiat démontre avec une logique informelle implacable la valeur sociale de la liberté. La meilleure illustration en est sa démonstration des vertus du libre-échange. Bastiat anticipe la théorie moderne des décisions publiques quand il argumente que les individus essayent d’utiliser le pouvoir coercitif de l’Etat pour obtenir ce qu’ils ne peuvent obtenir à travers les transactions marchandes. Bastiat était aussi préoccupé par la vertu morale de la liberté et dans son dernier ouvrage, La Loi, il montre de quelle manière le système juridique moderne a été perverti. Au lieu de protéger les droits individuels, ce système est devenu un instrument de pillage public et le socialisme est la forme la plus pernicieuse de ce pillage. (shrink)

The Catalogue of Palm Leaf Manuscripts kept in the Otani University Library. Otani University Library, Kyoto 1995. lxxxi, 778 pp. No price given.

This enjoyable book presents a potpourri of paradoxes with the purpose of showing how they connect to serious philosophical issues. The main paradoxes are Zeno's, the sorites, Newcomb's problem, the paradoxes of confirmation, the surprise examination, and the paradoxes of self-reference. A final chapter defends the assumption that contradictions are unacceptable and an appendix throws in sixteen minor paradoxes. Along the way, R. M. Sainsbury peppers the reader with helpful queries and provocative asides.

The evidence for a panhuman, cognitively rooted, essence-based concept of basic natural kind and for certain prototypical phenomenal forms is increasingly compelling, but there remain doubts as to whether these two elements combine with a principle of taxonomy to form a unified, domain-specific theory in the way Atran claims. The appropriateness of the notion of meme can also be questioned, as can the assertion that humans are always grouped in ethnobiological classifications in unambiguous contrast to other animals.

Art and the Form of Life takes a classic theme—philosophy as the art of living—and gives it a contemporary twist. The book examines a series of watershed moments in artistic practice alongside philosophers’ most enduring questions about the way we live. Coupling Tino Sehgal with Wittgenstein, cave art with Foucault, Stanley Kubrick with Nietzsche, and the Bauhaus with Walter Benjamin, the book animates the idea that life is literally ours to make. It reflects on universal themes that connect the long (...) histories of art and philosophy, and it does so using a contemporary approach. Drawing on great philosophical works, it argues that life practiced as an art form affords an experience of meaning, in the sense that it is engaging, creative, and participatory. It thus effects a fundamental renewal of experience. (shrink)