This issue assesses how human spatial navigation differs: within individuals across short‐term variations in mood or stress, and between individuals across variations in age, gender, education, culture, and physical environment.

Morse has produced a work that emphasizes the extreme significance and vital discipline of legal philosophy in representing the integration of legal principles and moral precepts. The Thinkers discusses, delineates, and analyzes the integral legal philosophies of Hobbes, Wilson, Aquinas, Augustine, Descartes, Hegel, Leibnitz, Kant, Carlyle,Thoreau, and Hohfeld.

I do not by any means with to take on the philosophy or aesthetics of music as a whole. In his review of Edward Lippman’s Humanistic Philosophy of Music, Monroe Beardsley lists six areas in which an ideal philosophy of music ought to provide guidance: an ontology of music, an answer to the question What is a musical work of art? a taxonomy of music, a categorical scheme for the basic and universal aspects of music; a hermeneutics or semiotics of (...) music, an answer to the question What, if anything, can music refer to? an epistemology of music; a theory of music criticism, an answer to the question What makes one musical work better than another? the foundations of a social philosophy of music.4 My subject here is the third item. I want most particularly to separate it from the fifth item, for to arrive at an interpretation of a particular piece is not to arrive at an evaluation of it. I shall also try, particularly in my discussion of Nelson Goodman’s seminal Languages of Art, to avoid the first item.5 And I shall try throughout to avoid embroilment in the question of how the aesthetic experience can be separated from the nonaesthetic.My subject is in fact only a part of the third item above, namely, current theories of musical expression. “Expression” is not equivalent to “meaning”; I understand and shall use the word “expression” to indicate a kind of meaning that entails some kind of reference outside the internal syntax of the artwork itself. As Goodman remarks, “rather obviously, to express is to refer in some way to what is expressed.”6 How this reference is made by the artwork is interaction with the listener, and what sort of purpose it serves—these concerns will be the focus of this essay. To choose this focus is not to deny something of which I have no doubt, both from Peter Faltin’s careful arguments and from my own experience: there is a kind of musical meaning that is purely syntactic, that operates without reference outside the internal operations or procedures of musical systems themselves.7 But through this may be ontologically the most fundamental kind of musical meaning, it is not the only kind. To listen for this alone is not the only way to approach music. Indeed, I should guess it is not the most fundamental way for many listeners. 4. I paraphrase and abbreviate from Monroe C. Beardsley, review of A Humanistic Philosophy of Music by Edward A. Lippman, Musical Quarterly 66 : 305.5. See Nelson Goodman, Languages of Art: An Approach to a Theory of Symbols ; all further references to this work, abbreviated LA, will be included in the text.6. Goodman, “Reply to Beardsley,” Erkenntnis 12, pt. 1 : 171; and see Edward T. Cone: “Expressive values in any art … cannot arise from analytical values alone. How could they? Unless one wishes to explain what it could possibly mean for a work of art to ‘express itself,’ then one must agree that expression, by its very definition, implies a relationship between the work of art and something else; while analytical values are derivable purely from internal structure” . Anthony Newcomb, professor of music at the University of California, Berkeley, is the author of The Madrigal at Ferrara. He is currently at work on a book on musica ficta, Understood Accidentals in Renaissance Vocal Polyphony, 1450-1600, and a study of the relationship between structure and expression in nineteenth-century music. (shrink)

We evaluate three of Geary's claims, finding that there is little evidence for sex differences in object- vs. person-orientation; sex differences in competition, even if biologically caused, lead to sex differences in mathematics only given a certain style of teaching; and sex differences in mental rotation, though real, are not well explained in a sociobiological framework or by the proximate biological variables assumed by Geary.

What role did Humanism play in the emergence of English Protestantism? This question has remained a live issue for Reformation scholarship over the past four centuries. In The Ark, the Covenant, and the Poor Men's Chest, the author examines the issue in detail, utilizing categories drawn from the research of John W. O'Malley on the application of different modes of classical rhetoric to biblical interpretation during the Renaissance. Anyone interested in either the revival of classical learning during the Renaissance or (...) the religious upheaval of the English Reformation will benefit from reading this work. The book's focus on primary sources from the sixteenth century and the best insights from recent secondary scholarship yields insights that will be of great interest to specialists in the field of Renaissance and Reformation studies. The inclusion of a timeline of major events, a biographical index of major figures, and a glossary of theological terms make this work accessible and helpful for students with varying degrees of familiarity with early modern England. Comparing the exegetical writings of Erasmus and John Colet, the author illustrates the key differences between Erasmian and Italian Humanism. Erasmus' reliance upon deliberative oratory for the explication of scripture, and his preoccupation with a Platonic philosophia Christi, result in an oracular Christology, focused narrowly on the speech of Jesus. By contrast, Italian Humanism relies upon epideictic rhetoric, and yields a portrait of Christ that highlights the deeds of the Messiah and the paschal dimensions of His salvific work, as seen in the writings of John Colet. These divergent patterns of biblical interpretation are also characteristic of the writings of the two bishops of London during the Reformation, Edmund Bonner, and Nicholas Ridley. Their contrasting approaches to scriptural interpretation suggest that opting for either Italian or Erasmian Humanism may have been decisive, both for Ridley's Protestantism and Bonner's Catholicism. (shrink)

Thelen et al. criticize “spatial coding” approaches to the A-not-B error. However, newer thinking about spatial coding provides more precise analytic categories and recognizes that different spatial coding systems normally coexist. Theorizing about spatial coding is largely compatible with dynamic-systems theory, augmenting it with an analysis of what one means when discussing “location at A” (or B).

This paper shows how institutional values influence the design and evaluation of arguments in funding proposals for research. We characterize a general argument made within proposals and several kinds of subarguments that contribute to it. We indicate that funders’ values inform the kinds of proposal documents funders require and their relative weighting of them. We illustrate these points by showing how a program office in the U.S. federal agency NOAA uses its public service mission to require and heavily weigh arguments (...) to transition new knowledge to NOAA service providers. We suggest conceptual questions raised by the use of transition knowledge. (shrink)