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)

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)

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.

This paper presents a novel objection to ontological arguments. This objection aims at showing that ontological arguments in general, given the intrinsic nature of their conclusion, are of an impossible nature. The argument rests on the fact that conclusive ontological arguments would contradict the very nature of God.

This paper presents a case study in the exegesis of Buddhist tantric literature by examining a segment of the corpus of Guhyasam?ja literature and, in doing so, addresses both emic and etic approaches to the hermeneutics of tantric texts. On the most basic level, we discuss the mechanisms for interpreting statements within the root tantra internal to the exegetical tantric literature itself, as exemplified by Candrak?rti’s ‘Brightening Lamp’ commentary and the extensive sub-commentary by Bhavyak?rti. On another level, however, these same (...) exegetical moves can be viewed in terms of the ideas ‘re-use’ and reformulation of the root text, and how they shape the understanding of the role and function of tantric commentary. (shrink)

Byrne & Russon's target article displays all the difficulties encountered when one fails to take a methodological behaviourist approach to imitation. Their conceptual apparatus is grounded in a mixture of introspection and folk psychology. Their distinction between action-level and program-level imitation falters on goal imputation for sequential acts. In an alternative gradient descent model, behaviour can be simulated as a frustration/satisfaction gradient descent in the animal's “potentiality space,” as defined by knowledge, inventiveness, and the surrounding environment.

Greek Philosophers of the Hellenistic Age examines an important but frequently neglected group of philosophers writing after Aristotle between the third and first centuries B.C. The work of a distinguished intellectual historian, this book is based on an erudite reading of a vast number of primary sources: the Greek and Latin writings of the philosophers, and the fragments, paraphrases, and testimonies from their lost works. Kristeller explores the thought of Epicurus; Zenon and Cleanthes, the founder of the Stoic school and (...) his successor; Pyrrhon and Arcesilaus, the founder of Skepticism and the philosopher who introduced it into the Platonic Academy; and Chrysippus, the third head of the Stoic school and its most important representative. Other figures include Carneades and Philo of Larissa, the second and third representatives of Skepticism in the Platonic Academy, respectively; Panaetius, the first leader of Middle Stoicism; and Antiochus of Ascalon, the head of the Academy, who led it back from Skepticism and prepared Middle Platonism, which paved the way for Neoplatonism. Originally presented as a series of lectures before the Scuola Normale Superiore in Pisa, Italy, Greek Philosophers of the Hellenistic Age assesses a group of philosophers who exerted an enormous influence upon pagan and Christian writers of late antiquity - including Cicero and St. Augustine - and on many medieval and early modern philosophers, theologians, and other thinkers. (shrink)

The German poet Barbara Köhler's 2007 poem-cycle Niemands Frau [Nobody's Wife] is more than a feminist response to Homer's Odyssey. In shifting the focus from the escapades of the hero Odysseus to the web of women characters that populates Homer's epic poem – Nausicaa, Circe, the Sirens, Helen, Ino Leucothea, the shades of the dead women whom Odysseus meets in Hades, and “Nobody’s wife” Penelope – Köhler also undertakes a grammatical shift: from the masculine singular pronoun “er” to the polyvalent (...) pronoun “sie” that denotes the feminine singular, the gender-unmarked plural and the formal “you.” “Sie” acts as the “quantum linguistic particle” that transports the reader from a world analogous to that conceived by Newtonian physics into a quantum universe of plural probabilities. Köhler's work explores the difference in power dynamics that results from this transformation, generating intriguing ways of reconceiving subjectivity, relationality, rationality, and authorship. Taken at their word, the poems open up a prospect of no longer insisting on the sovereign individual subject and his linear modes of narration, inheritance, calculation and grammatical proposition. (shrink)

The Contradictions of Jazz examines four pairs of opposites in jazz-freedom and responsibility, creativity and tradition, individualism and interconnectedness, and assertion and openness-and explores their position and presence in jazz to create a humanistic and existential view of the genre.

Carney and Graber have recently claimed that religious ethics can have its ultimate foundation in charismatic divine love and grace, without logically presupposing independent ethical principles. While their defense of the autonomy of religious ethics is successful against many typical philosophical critiques, their derivation of ethical principles from divine realities is not essentially but only contextually religious. Since divine elements make no crucial difference to that derivation, religious ethics contains essentially the same derivation of ethical principles from facts as does (...) non-religious ethics. Religious ethics, however, should not resist this conclusion, since the conclusion does not weaken any of its important functions. (shrink)

In Conjoining Meanings, I argue that meanings are composable instructions for how to build concepts of a special kind. In this summary of the main line of argument, I stress that proposals about what linguistic meanings are should make room for the phenomenon of lexical polysemy. On my internalist proposal, a single lexical item can be used to access various concepts on different occasions of use. And if lexical items are often “conceptually equivocal” in this way, then some familiar arguments (...) for externalist conceptions of linguistic meaning need to be reevaluated. (shrink)