Many contemporary philosophers favor coherence theories of knowledge (Bender 1989, BonJour 1985, Davidson 1986, Harman 1986, Lehrer 1990). But the nature of coherence is usually left vague, with no method provided for determining whether a belief should be accepted or rejected on the basis of its coherence or incoherence with other beliefs. Haack's (1993) explication of coherence relies largely on an analogy between epistemic justification and crossword puzzles. We show in this paper how epistemic coherence can be understood in (...) terms of maximization of constraint satisfaction, in keeping with computational models that have had a substantial impact in cognitive science. A coherence problem can be defined in terms of a set of elements and sets of positive and negative constraints between pairs of those elements. Algorithms are available for computing coherence by determining how to accept and reject elements in a way that satisfies the most constraints. Knowledge involves at least five different kinds of coherence - explanatory, analogical, deductive, perceptual, and conceptual - each requiring different sorts of elements and constraints. (shrink)

The format of this Library of Living Philosophers volume differs from that of its fifteen predecessors. Because of Sartre's failing eyesight, it was not possible for him either to read the critical essays or to respond in the usual way to his critics. Nor did he feel able to prepare an autobiography. Thus, in order to collect the material needed for the volume, it was necessary to conduct personal taped interviews with Sartre and then to have those interviews translated, edited, (...) and arranged in an order that would approximate as closely as possible the customary format of the volumes in the Library of Living Philosophers series. Skillfully and conscientiously conducted, the interviews themselves resulted in a unique and valuable document. At the time they occurred, Sartre was in good health except for his near-blindness, and he answered questions in a lively and easy manner. Although he seemed most comfortable when talking autobiographically, he nevertheless responded to many of the philosophical questions raised by the contributors to this volume. (shrink)

In Studies on Early Modern Aristotelianism Paul Richard Blum shows that Aristotle’s thought remained the touchstone of modern philosophy; for it was the philosophy taught at universities. The concept of philosophy at Jesuit schools forms the first part of this book. Their impact on the sciences and mathematics in combination with Renaissance ideas of nature is the topic of the second part. The transformation of Aristotelian metaphysics and theology under the influence of the Renaissance is the third area of (...) this book. Surprising continuity from the late Middle Ages into modernity and the radical difference of subject centered modern philosophy from ‘teachable’ school philosophy are innovative in these studies. (shrink)

New York Post Best Book of 2016 We often think of our capacity to experience the suffering of others as the ultimate source of goodness. Many of our wisest policy-makers, activists, scientists, and philosophers agree that the only problem with empathy is that we don’t have enough of it. Nothing could be farther from the truth, argues Yale researcher Paul Bloom. In AGAINST EMPATHY, Bloom reveals empathy to be one of the leading motivators of inequality and immorality in society. (...) Far from helping us to improve the lives of others, empathy is a capricious and irrational emotion that appeals to our narrow prejudices. It muddles our judgment and, ironically, often leads to cruelty. We are at our best when we are smart enough not to rely on it, but to draw instead upon a more distanced compassion. Basing his argument on groundbreaking scientific findings, Bloom makes the case that some of the worst decisions made by individuals and nations—who to give money to, when to go to war, how to respond to climate change, and who to imprison—are too often motivated by honest, yet misplaced, emotions. With precision and wit, he demonstrates how empathy distorts our judgment in every aspect of our lives, from philanthropy and charity to the justice system; from medical care and education to parenting and marriage. Without empathy, Bloom insists, our decisions would be clearer, fairer, and—yes—ultimately more moral. Brilliantly argued, urgent and humane, AGAINST EMPATHY shows us that, when it comes to both major policy decisions and the choices we make in our everyday lives, limiting our impulse toward empathy is often the most compassionate choice we can make. (shrink)

In Decision Space: Multidimensional Utility Analysis, first published in 2001, Paul Weirich increases the power and versatility of utility analysis and in the process advances decision theory. Combining traditional and novel methods of option evaluation into one systematic method of analysis, multidimensional utility analysis is a valuable tool. It provides formulations of important decision principles, such as the principle to maximize expected utility; enriches decision theory in solving recalcitrant decision problems; and provides in particular for the cases in which (...) an expert must make a decision for a group of people. The multiple dimensions of this analysis create a decision space broad enough to accommodate all factors affecting an option's utility. The book will be of interest to advanced students and professionals working in the subject of decision theory, as well as to economists and other social scientists. (shrink)

Like nature itself, modern economic life is driven by relentless competition and unbridled selfishness. Or is it? Drawing on converging evidence from neuroscience, social science, biology, law, and philosophy, Moral Markets makes the case that modern market exchange works only because most people, most of the time, act virtuously. Competition and greed are certainly part of economics, but Moral Markets shows how the rules of market exchange have evolved to promote moral behavior and how exchange itself may make us more (...) virtuous. Examining the biological basis of economic morality, tracing the connections between morality and markets, and exploring the profound implications of both, Moral Markets provides a surprising and fundamentally new view of economics--one that also reconnects the field to Adam Smith's position that morality has a biological basis. Moral Markets, the result of an extensive collaboration between leading social and natural scientists, includes contributions by neuroeconomist Paul Zak; economists Robert H. Frank, Herbert Gintis, Vernon Smith, and Bart Wilson; law professors Oliver Goodenough, Erin O'Hara, and Lynn Stout; philosophers William Casebeer and Robert Solomon; primatologists Sarah Brosnan and Frans de Waal; biologists Carl Bergstrom, Ben Kerr, and Peter Richerson; anthropologists Robert Boyd and Michael Lachmann; political scientists Elinor Ostrom and David Schwab; management professor Rakesh Khurana; computational science and informatics doctoral candidate Erik Kimbrough; and business writer Charles Handy. (shrink)

The aim of appraisal theory in the psychology of emotion is to identify the features of the emotion-eliciting situation that lead to the production of one emotion rather than another². A model of emotional appraisal takes the form of a set of dimensions against which potentially emotion-eliciting situations are assessed. The dimensions of the emotion hyperspace might include, for example, whether the eliciting situation fulfills or frustrates the subject’s goals or whether an actor in the eliciting situation has violated a (...) norm. Richard Lazarus’s well-known model of emotional appraisal has six dimensions, and the regions of the resulting hyperspace that correspond to particular emotions are summarized by Lazarus as the ‘core relational themes’ of those emotions. Anger, for examples, is elicited by the core relational theme ‘a demeaning offence against me and mine’, sadness by ‘having experienced an irrevocable loss’ and guilt by ‘having transgressed a moral imperative’ (Lazarus, 1991). (shrink)

One dimension of the controversy over whether evaluative properties are presented in perceptual content has general roots in the debate over whether perceptual content, in general, is rich or austere. I argue that we need to recognise a level of rich non-sensory perceptual content, drawing on experiences of chicken sexing and speech perception, to capture what our experience is like and our epistemic entitlements. In both cases (and many others), we are not conscious of the precise perceptual cues that are (...) the basis for discriminations and, thus, the characterisation of the phenomenal content of such experiences must go beyond sensory properties. Nevertheless, this point is arguably insufficient to establish the perception of evaluative properties. Their representation requires the subject to respond in certain ways. I discuss how this should go for the case of pain and then, in outline, for moral properties. (shrink)

Hegel makes claims about the relation of philosophy to religion that might raise concerns for those who want to locate his philosophy generally within the modern enlightenment tradition. For example, at the outset of his Lectures on Aesthetics he claims that philosophy “has no other object but God and so is essentially rational theology”.1 What might seem to placate worries here is that Hegel of course differentiates between the forms of religious and philosophical cognition in which such a content is (...) presented: while religion grasps this content in the form of imagistic or figurative representations [Vorstellungen], philosophy grasps it within conceptual thought, an attitude which might seem to align him with that found within the German enlightenment, for example, that found in Lessing and Kant. However, it seems undeniable that, in comparison to Kant, for example, Hegel employs forms of expression for the presentation of his own philosophical thought that are redolent with the type of imagistic and figurative locutions supposedly at home in religion. Moreover, the actual imagery employed seems to refer to the type of trinitarian version of Christianity that can seem antithetical to those forms of Christian thought that lent themselves to the sort of “demythologization” characteristic of the enlightenment attitude to religious doctrine. Such factors as these make it easy to portray Hegel’s philosophy as a type of irrationalist mysticism,2 or at least as a disguised theology with a content from revealed religion, and thus aligning him more to the spirit of the Counter-Enlightenment than the Enlightenment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Oxford Handbook of AestheticsDerek MatraversThe Oxford Handbook of Aesthetics, edited by Jerrold Levinson. Oxford: Oxford University Press, 2003, 821pp., $99.00 Hardback.The aesthetics community has much for which to thank Jerrold Levinson. His papers are required reading on a number of topics in aesthetics, and he is renowned as a generous commentator and critic. The considerable labor he must have expended in editing this book is yet another (...) reason to be grateful for his industry. As well as a useful Preface, which lays out the editor's rationale for the content, the book contains two survey articles and thenforty-six individual articles that, according to the Preface, cover "virtually all the major issues in philosophical aesthetics that are active topics of discussion and research" (p. v). I shall begin this review with a brief overview of the book. I shall then comment on the extent to which it fulfils it stated purpose, on its usefulness in teaching, and what it might show us about the current state of our discipline. Finally, I shall compare it with similar books that are currently available.The first of four parts consists of the two overview articles: the first covering debates on contemporary aesthetics, and the second an account of recent work in the history of aesthetics. The first, by Levinson himself, usefully demarcates the subject before organizing the discussion into three foci of aesthetics (art, the aesthetic property, and the aesthetic experience) and then five problems (the concept of the aesthetic, the definition of art, the ontology of art, representation in art, and expression in art). The piece is skillfully organized, and Levinson's grasp of the details of the various topics is unsurpassed. It is very much a teaser, however, as thebrevity means that only the bare outlines of the various problems get discussed. The second article, by Paul Guyer (once again, it is difficult to think of anyone more suitable to the task) does not attempt to give an overview of the history of aesthetics, but rather an overview of the recent work in the history of modern aesthetics. Although descriptive, this is informed by Guyer's view that the Anglo-American tradition has been unduly restricted in both the history it has studied and in the range of its current concerns. The article aims to be comprehensive: the bibliography takes up eight of its thirty-five pages.The second part, which is the most extensive, consists of twenty-five essays of general issues in aesthetics. It begins with two essays on aesthetic realism. The first, by Nick Zangwill, advocating the position and the second, by John Bender, opposing it. This is the only instance of such a debate: the other twenty-three essays cover all the general issues currently being discussed (at least, this reviewer could not see any obvious gaps). The third part covers aesthetic issues of specific artforms including, it is nice to see, Architecture, Sculpture, Dance, Theatre,Poetry, Photography, and Film as well as Music, Painting, and Literature. [End Page 104] The final part certainly has the most intriguing heading: "Further Directions in Aesthetics." This pushes out the boundaries, including articles that relate aesthetics to evolutionary psychology, cognitive science, the everyday, postmodernism, cultural studies, and the avant-garde.One function of a handbook (or companion) is to offer readers a one-stop place from which to learn what the main issues are in a particular area, what is the orthodox mainstream view, and what are the main points for and against. It is an intriguing matter that fifteen years ago there were few introductions to philosophical aesthetics, and ever fewer handbooks or companions such as this one. I imagine that there are many people who, like me, make use of such books (I look on my shelves and see, as well as the book I am reviewing, six introductions to aesthetics and two Companions) yet who feel that the notion of a philosophical textbook is problematic. It is difficult to be precise about this feeling of unease although, were I to do so, I would point to two issues. The first worry is that presenting a synoptic view of an area... (shrink)

The author responds to the interpretations and criticisms of his thought as presented in the eleven essays in "Love and Society: Essays in the Ethics of Paul Ramsey ". He defends and refines his position on ethical theory, war and political ethics and medical ethics.

Presents a survey of what Arabic philosophers, as commentators of Aristotle's _Physics_, have contributed to philosophy and science in the Middle Ages. Their influences on each other and the extent of the influences of previous Greek commentators on them, are also examined.

The Ethics of Agricultural Intensification: An Interdisciplinary and International Conversation Paul B. Thompson and John Otieno Ouko* Global agriculture faces a number of challenges as the world approaches the second decade of the third millennium. Predictions unilaterally indicate dramatic increases in world population between 2010 and 2030, and a trend in developing countries toward greater consumption of animal products could multiply the need for prod- tion of basic grains even further. Although global food production in 2000 was estimated to (...) be adequate for the existing population, hunger and malnutrition are persistent problems that have led decision makers to recognize that increasing food production in specific regions may be the most effective way to address food se- rity for impoverished peoples. At the same time, there will need to be policy adju- ments that improve poor people’s access to current food supplies without simultaneously undercutting the ability of local producers to obtain needed cash income. What is more, the uncertain effects of global climate change on agricultural ecosystems complicate planning for this process, while poorly understood processes of globa- zation create additional unknowns from the side of social systems. In short, despite surpluses in many parts of the developed world, finding ways to increase food p- duction on both selected regional and a total global basis remains a priority for many farmers, policy makers and agricultural researchers. (shrink)

ah¯ aras) are defined on the ´ Sivas¯ utras and other similarly organized lists by the convention that if xq is followed in the list by the marker Q, then xpQ denotes the set of elements xp, xp+1, ... xq. The phonological classes defined in this way are referred to in hundreds of rules in the As.t.¯adhy¯ay¯i.

Research Articles Paul A. Rahe, Social Philosophy and Policy, FirstView Article.

In lieu of an abstract, here is a brief excerpt of the content:Three Ovidian Tails PAUL BAROLSKY Kneeling at the edge of a pond in push-up position, a beautiful nude boy crowned with flowers gazes down at the water in which he beholds his reflection. In love, he is enthralled. Thus, the image of Narcissus rendered by the Florentine painter Alessandro Allori in a work that has been largely overlooked until recently. Datable to the second half of the sixteenth (...) century, it now hangs in the Turkish Embassy in Washington, DC. In the distant background of the picture we behold Echo, who extends an arm upward seemingly in a gesture of despair, since she is rejected by Narcissus. She stands before a mass of rock, her left leg beginning to turn to stone, the very stone into which she vanishes as only her voice remains when she echoes her beloved. The painting abounds in Alessandro Allori, Narcissus. Photograph © Patricia Rubin. arion 26.3 winter 2019 closely observed passages such as the little fish in the pond, one of which has captured a worm. There are other notable details such as the crab on a rock in the foreground, or the clusters of pendulous, ripe grapes, fruit of Bacchus, to whom androgynous Narcissus is likened in Ovid’s Metamorphoses. Allori also employs poetic simile in his picture, since the fingers of the youth’s left hand rhyme with the finger-like roots that emerge from the water. These roots are magnified in turn by their reflected image on the water’s surface. 136 three ovidian tails Abraham Janssens, Nymph and Pan Among the Reeds. AKG / Museen Böttcherstra ße. The apex of the picture, we might say, is baby Cupid who, hovering above, aims his dart at Narcissus and thus arouses the boy’s desire. The shape of Cupid’s bow echoes that of Narcissus ’s prominent buttocks which are framed by the attractive, bright golden drapery fluttering prominently around the youth’s posterior. One might well say that Allori features the buttocks of Narcissus’s body most provocatively in a kind of butt which recalls that of Cupid in the famous Venus, Cupid, Folly, and Time painted by the artist’s teacher, Bronzino. What Allori pictures is not exactly what Ovid writes. It is, however, how Allori imagines the Narcissus of Ovid’s tale. Allori is not alone among Ovidian artists in focusing on the backside of the human body. The posterior is especially prominent in another mythological picture, this one from the early seventeenth century, executed by a disciple of Rubens, Abraham Janssens. This work has found its way to Bremen, where it is now housed in the Ludwig Roselius Museum. It illustrates Pan’s pursuit of Syrinx, who is metamorphosed into reeds in a story told by Mercury in order to put Argus asleep. Ovid is Janssens’s point of departure. The artist depicts the moment when a muscular Pan with a ruddy, almost leathery face embraces Syrinx in her new form as a bunch of reeds. Janssens departs from Ovid with a most novel invention. He depicts a woman, seen from behind, who dominates the composition. With sharp contrasts of lights and darks, vestiges of Caravaggio, the painter emphasizes the female’s imposingly broad backside, which is framed by a billowing, bright, attention-grabbing red drapery that she seems to hold across the front of her body. Could it be that Janssens here alludes to the backside of Syrinx as Pan would have seen it when he chased her? It would seem that we are given not only a view of Pan embracing reeds, we are simultaneously given a Pan’s-eye view of Syrinx’s prominent and provocative backside before her metamorphosis. I wish to consider one final example of the derrière in Ovidian art, this one prominent in a picture painted well Paul Barolsky 137 over a hundred years after Janssens worked: Louis-JeanFran çois Lagrenée’s Abduction of Deianira by the Centaur Nessus, a work which is now in the Louvre. In Ovid’s story, Hercules arrives with his bride Deianira at the shore of the river Evenus where she is abducted by Nessus, who flees only to have Hercules shoot him with... (shrink)

Why, then, do we huddle in the dark around the campfires of our flickering narratives? There are obviously many different reasons for doing so. Yet, having heard various récits—whether "stories" or "accounts"—during the narrative conference, I am more inclined than ever to see self-assertive entertainment and self-transcending commitment as two kinds of ultimate motivation for our countless narratives. Stories and histories and other narrative or descriptive accounts help us to escape boredom and indifference—ours as well as that of other people. (...) Those nearly vacant states of mind at the zero degree of entertainment and commitment bring us frightfully close to the experience of nonexistence. Hence our desire to replace boredom by thrilling or gratifying entertainment and to replace indifference by the social or cosmic commitment either to change the world or to change ourselves. In a world of unmixed colors and pure literary genres, tragedy, comedy, satire, and romance might answer distinct needs for thrill, gratification, indignation, and admiration. But, as Roy Schafer and Victor Turner have reminded us, the private and social dramas underlying psychoanalytical and anthropological accounts are even less pure than most works of literature. Couldn't we conclude that life's internal and external dramas stem from a compound desire for self-assertion and self-transcendence—a desire which, in the realm of literary entertainment and commitment, motivates the emergence and appreciation of tragicomedy? Paul Hernadi teaches English and comparative literature at the University of Iowa. He is the author of Beyond Genre: New Directions in Literary Classification and the editor of What is Literature? and What is Criticism? His previous contribution to Critical Inquiry, "Literary Theory: A Compass for Critics," appeared in the Winter 1976 issue. (shrink)

What kind of freedom, and what kind of individual, has the French Revolutionary tradition sought to propagate? Paul Cohen finds a distinctly French articulation of freedom in the texts and lives of eight renowned cultural critics who lived between the eighteenth century and the present day. Arranged not according to the lives and times of its protagonists but to the narrative themes and structures they held in common, Cohen’s study discerns a single master narrative of liberty in modern France. (...) He captures these radicals, whose tradition bids them to resist the authority of power structures and public opinion. They denounce bourgeois and utilitarian values, the power of Church and State, and the corrupting influence of everyday politics, and they dream of a revolutionary rupture, a fleeting instant of sometimes violent but always meaningful transgression. An eloquent and insightful work on French political culture, _Freedom's Moment_ also helps explain how France, even as it has oscillated between political stagnation and crisis, has held onto its faith that liberty, equality, and fraternity remain within its grasp. Examines the ideas of Rousseau, Robespierre, Stendahl, Michelet, Bergson, Peguy, Sartre, and Foucault. (shrink)

This is the text of The Lindley Lecture for 1974, given by Paul Ricoeur, a French philosopher.

The landscape of sport shows conspicuous discursive and material disparities between the responses to openly violent on-field transgressors and the responses to other kinds of transgressor, most notably drug users. The former gets off significantly lighter in terms of ideological framing and formal punishment. The latter—and drug users in particular—are typically demonised and heavily punished, whilst the former are regularly lionised, dramatised, celebrated and punished less severely. The preceding disparities cannot be upheld from the standpoint of morality in general or (...) from that of a Broad Internalist sport ethic. Consideration of the consequences, actions, motives and vices involved in the respective categories fails to support them. Nor is support provided by the notion that sports are tests of the physical skills and virtues that the obstacles presented are designed to foster and promote, and behaviour that threatens the opportunity to exercise those excellences or have competitions determined by them should be the subject of critical moral scrutiny. Openly violent on-field transgression does not fare at all well by the yardstick of Broad Internalism. Robust investigation of and ultimate change in the values underpinning the disparities is warranted. (shrink)