There is considerable evidence that animals can time multiple intervals that occur separately or concurrently. Such simultaneous temporal processing occurs both in temporal discrimination procedures and in classical conditioning procedures. The first part of the chapter will consist of the review of the evidence for simultaneous temporal processing, and the conditions under which the different intervals have influences on each other. The second part of the chapter will be a brief description of two timing theories: Scalar Timing Theory and a (...) Packet Theory of Timing. Scalar Timing Theory consists of a pacemaker-switch-accumulator system that serves as a clock, a memory that consists of examples of previously reinforced intervals, and a decision process that involves a comparison of ratios to a criterion; the Packet Theory of Timing consists of a conditional expected time function that serves as a clock, a memory that consists of weighted sums of these values, and a probabilistic decision process that produces packets of responses. Both of these theories will be applied to an example of simultaneous temporal processing by rats, and will serve as the basis for some general comments about the basis for selecting and evaluating quantitative theories of timing. (shrink)

Reading Certainty offers incisive historical analysis of the foundational questions of the Christian tradition: how are we to read scripture, and how can we know we are saved? This collection of essays honors the work and thought Susan E. Schreiner by exploring the import of these questions across a wide range of time periods. With contributions from renowned scholars and from Schreiner's students from her more than three decades of teaching, each of the contributions highlights the nexus of certainty, perception, (...) authority, and exegesis that has defined her scholarly work. Intellectual historians, early modernists, and scholars of Christianity will all appreciate this testament to Schreiner's influence. Contributors include: Vincent Evener, Bruce Gordon, Ralph Keen, Mark Lambert, Kevin J. Madigan, Richard A. Muller, Willemien Otten, Daniel Owings, Elizabeth Palmer, Karen Park, Barbara Pitkin, Ronald K. Rittgers, William Schweiker, Jonathan Strom, and Matthew Vanderpoel. (shrink)

Richard Popkin has assembled 63 leading scholars to forge a highly approachable chronological account of the development of Western philosophical traditions. From Plato to Wittgenstein and from Aquinas to Heidegger, this volume provides lively, in-depth, and up-to-date historical analysis of all the key figures, schools, and movements of Western philosophy. The Columbia History significantly broadens the scope of Western philosophy to reveal the influence of Middle Eastern and Asian thought, the vital contributions of Jewish and Islamic philosophers, and the (...) role of women within the tradition. Along with a wealth of new scholarship, recently discovered works in 17th- and 18th-century philosophy are considered, such as previously unpublished works by Locke that inspire a new assessment of the evolution of his ideas. Popkin also emphasizes schools and developments that have traditionally been overlooked. Sections on Aristotle and Plato are followed by a detailed presentation on Hellenic philosophy and its influence on the modern developments of materialism and scepticism. A chapter has been dedicated to Jewish and Moslem philosophical development during the Middle Ages, focusing on the critical role of figures such as Averroës and Moses Maimonides in introducing Christian thinkers to classical philosophy. Another chapter considers Renaissance philosophy and its seminal influence on the development of modern humanism and science. Turning to the modern era, contributors consider the importance of the Kaballah to Spinoza, Leibniz, and Newton and the influence of popular philosophers like Moses Mendelssohn upon the work of Kant. This volume gives equal attention to both sides of the current rift in philosophy between continental and analytic schools, charting the development of each right up to the end of the 20th century. Each chapter includes an introductory essay, and Popkin provides notes that draw connections among the separate articles. The rich bibliographic information and the indexes of names and terms make the volume a valuable resource. Combining a broad scope and penetrating analysis with a keen sense of what is relevant for the modern reader, _The Columbia History of Western Philosophy_ will prove an accessible introduction for students and an informative overview for general readers. (shrink)

It is a pleasure to be a part of such great intellectual company in discussing Professor Stalnaker's very rich and insightful book. It is practically impossible not to be impressed by Stalnaker's breadth of knowledge, deep understanding of early Chinese texts, and keen observations about how the early Chinese philosophers offer intellectual resources still very much relevant to us today. My comments will focus on the relationship between skill and virtue. I'll ask one clarificatory question and offer two potential (...) objections to Stalnaker's account.Let me begin with my clarificatory question: Stalnaker presents the early Confucian thinkers as drawing a tight connection between skill and virtue.... (shrink)

I think … we ought to distinguish two sense of “deconstruction.” In one sense the word refers to the philosophical projects of Jacques Derrida. Taken this way, breaking down the distinction between philosophy and literature is essential to deconstruction. Derrida’s initiative in philosophy continues along a line laid down by Friedrich Nietzsche and Martin Heidegger. He rejects, however, Heidegger’s distinctions between “thinkers” and “poets” and between the few thinkers and the many scribblers. So Derrida rejects the sort of philosophical professionalism (...) which Nietzsche despised and which Heidegger recovered. This does indeed lead Derrida in the direction of “a general, undifferentiated textuality.” In his work, the philosophy-literature distinction is, at most, part of a ladder which we can let go of once we have climbed up it.In a second sense of “deconstruction,” however, the term refers to a method of reading texts. Neither this method, nor any other, should be attributed to Derrida—who shares Heidegger’s contempt for the very idea of method.2 But the method exists, and the passage I have quoted from Culler describes one of its essential features. Culler is quite right to say that deconstruction, in the second sense, needs a clear distinction between philosophy and literature. For the kind of reading which has come to be called “deconstructionist” requires two different straight persons: a macho professional philosopher who is insulted by the suggestion that he has submitted to a textual exigency, and a naive producer of literature whose jaw drops when she learns that her work has been supported by philosophical oppositions. The philosopher had thought of himself as speaking a sparse, pure, transparent language. The poetess shyly hoped that her unmediated woodnotes might please. Both reel back in horror when the deconstructionist reveals that each has been making use of complex idioms to which the other has contributed. Both go all to pieces at this news. A wild disorder overtakes their words. Their whimpers lend into interminable androgynous keening. Once again, deconstructionist intervention has produced a splendidly diffuse irresolution. Richard Rorty is Kenan Professor of Humanities at the University of Virginia. He is the author of Consequences of Pragmatism and is currently writing a book on Martin Heidegger. (shrink)

Abe Kobo was one of Japan's greatest postwar writers, widely recognized for his imaginative science fiction and plays of the absurd. However, he also wrote theoretical criticism for which he is lesser known, merging literary, historical, and philosophical perspectives into keen reflections on the nature of creativity, the evolution of the human species, and an impressive range of other subjects. Abe Kobo tackled contemporary social issues and literary theory with the depth and facility of a visionary thinker. Featuring twelve (...) essays from his prolific career -- including "Poetry and Poets," written in 1944, and "The Frontier Within, Part II," written in 1969 -- this anthology introduces English-speaking readers to Abe Kobo as critic and intellectual for the first time. Demonstrating the importance of his theoretical work to a broader understanding of his fiction -- and a richer portrait of Japan's postwar imagination -- Richard F. Calichman provides an incisive introduction to Abe Kobo's achievements and situates his essays historically and intellectually. (shrink)

_For curious readers young and old, a rich and colorful history of religion from humanity’s earliest days to our own contentious times_ In an era of hardening religious attitudes and explosive religious violence, this book offers a welcome antidote. Richard Holloway retells the entire history of religion—from the dawn of religious belief to the twenty-first century—with deepest respect and a keen commitment to accuracy. Writing for those with faith and those without, and especially for young readers, he encourages (...) curiosity and tolerance, accentuates nuance and mystery, and calmly restores a sense of the value of faith. Ranging far beyond the major world religions of Judaism, Islam, Christianity, Buddhism, and Hinduism, Holloway also examines where religious belief comes from, the search for meaning throughout history, today’s fascinations with Scientology and creationism, religiously motivated violence, hostilities between religious people and secularists, and more. Holloway proves an empathic yet discerning guide to the enduring significance of faith and its power from ancient times to our own. (shrink)

The four principles approach to biomedical ethics points to respect for autonomy, beneficence, non-maleficence and justice as the norms that should guide moral agents working in the biosciences, and particularly in health care. While the approach is well known, it is not without its critics. In this paper, which is primarily aimed at health professionals and students (from various disciplines) who are studying health care ethics, I consider four problems with the four principles, which respectively claim that the approach is (...) imperialist, inapplicable, inconsistent and inadequate. In keeping with the aims of the ‘five-minute focus’, the primary objective is to introduce these debates, rather than seek to resolve them. However, I will suggest that the approach does have its merits, not least for time-pressed clinicians who are keen to keep an eye on the ethical dimensions of their practices, and for students training in the health care professions, provided that they appreciate that the approach provides only a starting point for, and not the end point of, moral deliberation. (shrink)

Achille Nicolas Isnard an engineer with a keen interest in political economy, is best known for demonstrating the concept of market equilibrium using a system of simultaneous equations. The breadth and depth of his work undoubtedly established him as one of the forerunners of modern mathematical economics, yet his seminal contributions to the study of economics remained largely unrecognized until the latter half of the twentieth century. This pioneering new book, the first in English, examines Isnard’s life and illuminates (...) his major contributions to political economy. It contains substantial extracts from a number of his publications presented both in English translation and in the original French so Isnard can now finally achieve his place at the heart of discussion on the origins of mathematical economics. The diverse issues covered here will ensure that this book appeals not only to economists with an interest in the history of mathematical economics, but to anyone interested in the emergence of political economy and in wider social thought during the Enlightenment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dewey's Art as ExperienceThe Psychological BackgroundRichard Shusterman (bio)IThe year 2009 marks the 150th anniversary of John Dewey's birth and also the 75th anniversary of the publication of his aesthetic masterpiece Art as Experience—a book that has been extremely influential within the field of aesthetics, not only in philosophical aesthetics and aesthetic education but also in the arts themselves.1 I am honored to commemorate this double Deweyan anniversary with an (...) essay that reexamines Art as Experience by briefly tracing some of its major themes and clarifying its generative context of production and philosophical roots, while also suggesting, in passing, how some of these themes and roots contribute to its continuing philosophical relevance. Before going further, I should offer two preliminary cautions. First, Dewey's aesthetic magnum opus is obviously too rich and masterful in ideas and influence for any brief commemorative essay to hope to do it sufficient justice. Second, as Dewey defined philosophy as "a criticism of criticisms," so my remarks will include a critical dimension.2 This in no way denies my immense admiration for Dewey's achievement in Art as Experience, just as my noting of some formative influences on this work is in no way meant to diminish the impressive originality of his contribution.Dewey's Art as Experience first established pragmatist aesthetics on the philosophical map, yet his text makes no mention of pragmatism. There are good reasons for Dewey's reluctance to highlight the term. The pragmatic is closely linked to the practical, precisely the idea against which the aesthetic has, since Kant, been traditionally contrasted and often oppositionally defined as purposeless and disinterested. To describe his new aesthetic [End Page 26] explicitly as pragmatist might have aroused too much skepticism to insure Dewey's views a fair hearing. Moreover, the pragmatist movement did not yet have a real tradition of philosophical aesthetics on which Dewey could securely rely, a suspicious lack that encouraged the presumption that pragmatism had nothing worthwhile to offer the arts and no real interest in them. Neither C. S. Peirce (who first conceived and baptized pragmatism) nor William James (who made it an internationally famous movement and converted Dewey to it) provided any treatises on aesthetics in their voluminous and wide-ranging writings.It would be wrong to conclude, however, that these first prophets of pragmatism dismissed the aesthetic dimension as unimportant and that they contributed nothing to our understanding of art and criticism. As the originator of semiotics, Peirce significantly advanced the theory of symbols and interpretation in ways that enrich aesthetics. Appreciative of the role of play in creative expression and thought (which he tried to capture through an intriguing concept he called "musement"), Peirce also emphasized the immediately felt quality of experience (so crucial to aesthetics) as his first category of consciousness or "Firstness." Finally, Peirce urged the continuity and collaboration of aesthetics and ethics, even going so far as "making Ethics dependent upon Esthetics" and treating "the morally good … as a particular species of the esthetically good." If "Ethics is the science of the method of bringing Self-Control to bear to gain" what we desire, "what one ought to desire … will be to make [one's] life beautiful, admirable. Now the science of the Admirable is true Esthetics."3William James, whose keen aesthetic taste, wide culture, and love of art inspired his first career choice for painting, offered almost no theorizing in philosophical aesthetics because he was convinced that its abstract formal principles and discursive definitions necessarily failed to capture (and even tended to obscure) the crucial nameless subtleties of art that make all the difference in actual aesthetic experience. But James held the aesthetic dimension of experience (its immediately and distinctively felt but nameless qualities and the appeal that such qualities exercised on our minds and behavior) to be extremely important, well beyond the field of fine art. Maintaining that such aesthetic considerations deeply pervaded one's ethical and philosophical perspective, he even argued that contentions between rival worldviews rested largely on "aesthetic" discords or conflicting temperaments.4 James also devoted specific attention to the aesthetic emotions as "subtler emotions" (along with intellectual and moral... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Killing Our Way Out of ViolenceEngaging Wrangham's The Goodness ParadoxChris Haw (bio) and Richard Wrangham (bio)Wrangham's Goodness Paradox (GP) offers excellent anthropological research for mimetic theorists interested in the questions of human evolution and violence. It theorizes a framework of how group killing played a selective function in the emergence of our species, but it leaves open plenty of questions and concerns for productive, critical dialogue. Wolfgang Palaver (...) has written a short affirmation of the book, and Melvin Konner reviewed it for The Atlantic.1 But as one who has taken keen interest in the evolutionary and theological dimensions of mimetic theory,2 I offer here a longer engagement with the book and the author. I begin by extrapolating Wrangham's argument, I offer some critique, and then I share an edited version of my extended conversation with him.Wrangham's overall paradox is that humanity emerged through killing our way out of violence. More precisely, proactive coalitionary killing against aggressive, alpha-male individuals selected out, in a genetic pressure over hundreds of thousands of years, the more temperamental threads of Homo, resulting in a species (sapiens) who are relatively more domesticated and docile.3 [End Page 63]The argument proceeds as follows. First: Domestication is a real, genetic thing. Various domesticated species tend to share an odd, seemingly unrelated set of features called a "domestication syndrome." This refers to some combination of phenotype differences as compared to nondomesticated cousins: reduced skeleton mass, reduced/rounder cranium sizes and jaw lines, floppier ears, white patches of fur, extended juvenility, more frequent fertile periods, males with greater approximation to female characteristics, and so on. Beneath all these is a genetic reduction in "reactive aggression," which is the propensity for violence related to irascibility and short-fused tempers.Two: Domestication can happen intentionally or just randomly in nature. Humans have domesticated foxes in quick succession, breeding only ones with reduced reactive aggression, resulting in a domestication syndrome.4 The same seems to have happened slowly, with increasing intentionality over time, in the domestication of wolves into dogs. (This perhaps first began with the natural selection of wolves who were least aggravated by getting near humans to eat their camp detritus.) But domestication can also happen outside the human sphere, as in bonobos, who are basically a domesticated cousin of chimpanzees—evidenced not only in their reduced aggression but in their own domestication syndrome.5 This happened, he argues, largely through contingent, niche ecological features related to landscape, dramatic climate variations, and changes in competition over food.Three: It has long been asked whether humans are a "domesticated" species or whether such a thought is just anthropocentrism. The answer is definitely yes, but who domesticated us? A traditional answer, of course, was that God made us (or that some humans are properly domesticated, and others savage); but what if we ask in a more specifically scientific, causal framework? One early anthropologist posed that perhaps some now-extinct super-species domesticated us.6 Wrangham's answer is that we unintentionally domesticated ourselves by persistently killing off the genetic lines of the most aggressive individuals. This has resulted in Homo sapiens being basically a domesticated version of Homo neanderthalensis, erectus, and so on. Girard's not-unrelated answer is that religion domesticated us. By "religion" Girard means an integrated pattern of chaotic/exceptional and ordered/normal behaviors that contain violence, mediated through our mimetic capacity: chaotic mimetic violence restrained and channeled through mimetic ritual, taboo, and myth. This created an increasing feedback loop that exercised and intensified our mimetic capacity while protecting against its dangerous excess. Whatever the case, compared with our hominin cousins, the human phenotype shows strong signs of a domestication [End Page 64] syndrome: reduced cranium and jaw sizes, smaller skeleton mass, and a likely decreased reactive aggression in comparison to previous Homo.Fourth, and finally: Wrangham argues this domestication is related to a long, prehuman arc of transition, throughout the mid-Pleistocene (the Pleistocene ranges from about 2 million years ago to the thawing of the last ice age, 12,000 years ago), from older alpha-dominance patterns to tyrannies of egalitarian patriarchy. Wrangham draws upon hunter... (shrink)

THE PIMLICO HISTORY significantly broadens the scope of Western philosophy to reveal the influence of Middle Eastern and Asian thought, the vital contributions of Jewish and Islamic philosophers, and the role of women within the tradition. Popkin also emphasizes schools and developments that have traditionally been overlooked. Sections on Plato and Aristotle are followed by a detailed presentation on Hellenistic philosophy and its influence on the modern developments of materialism and scepticism. Another chapter considers Renaissance philosophy and its seminal influence (...) on modern humanism and science. Turning to the modern era, the contributors give equal attention to both sides of the current rift in philosophy between continental and analytic schools, charting the development of each right to the end of the twentieth century. Each chapter includes an introductory essay, and Popkin provides notes that draw connections among the separate articles. The rich bibliographic information and the indexes of names and terms make the volume a valuable resource. Combining a broad scope and penetrating analysis with a keen sense of what is relevant for the modern reader, the book provides an accessible intro for students and general read. (shrink)

Researchers have converged on the idea that a pragmatic understanding of communication can shed important light on the evolution of language. Accordingly, animal communication scientists have been keen to adopt insights from pragmatics research. Some authors couple their appeal to pragmatic aspects of communication with the claim that there are fundamental asymmetries between signalers and receivers in non-human animals. For example, in the case of primate vocal calls, signalers are said to produce signals unintentionally and mindlessly, whereas receivers are (...) thought to engage in contextual interpretation to derive the significance of signals. We argue that claims about signaler-receiver asymmetries are often confused. This is partly because their authors conflate two conceptions of pragmatics, which generate different accounts of the explanatory target for accounts of the evolution of language. Here we distinguish these conceptions, in order to help specify more precisely the proper explanatory target for language evolution research. (shrink)

In his writings, Richard Wagner imagines art as something natural. This paradox was only befitting for Wagner’s contradictory historical stance: that of an eminently modern artist loathing the modern world. For him, nature served as a yardstick apt to find the modern world deficient on all counts. But how can something ahistorical, nature, be used to judge a historical phenomenon, modernity? To arrive at the verdict Wagner was keen on, he had to fill his concept of nature with (...) historical content attributed to myth. (shrink)

Fredrik Svenaeus' book is a delight to read. Not only does he exhibit keen understanding of a wide range of topics and figures in both medicine and philosophy, but he manages to bring them together in an innovative manner that convincingly demonstrates how deeply these two significant fields can be and, in the end, must be mutually enlightening. Medicine, Svenaeus suggests, reveals deep but rarely explicit themes whose proper comprehension invites a careful phenomenological and hermeneutical explication. Certain philosophical approaches, (...) on the other hand - specifically, Heidegger's phenomenology and Gadamer's hermeneutics - are shown to have a hitherto unrealized potential for making sense of those themes long buried within Western medicine. Richard M. Zaner, Ann Geddes Stahlman Professor of Medical Ethics, Vanderbilt University. (shrink)

Richard Sorabji, a noted philosopher in his own right, here offers a new edition of his 1972 translation of "De Memoria" here with commentary, summaries, and three essays comparing Aristotle's accounts of memory and recollection. For this edition, Sorabji has also provided a substantial new introduction taking into account scholarly debates over the intervening thirty years, particularly those over the role of mental images in the imagination. "Sorabji has produced a first-class book on an important topic. All Aristotelians, and (...) anyone with an interest in any aspect of memory, will be in his debt."--Jonathan Barnes, "Isis ""Anyone concerned with Aristotle's psychology, theory of mind, or rhetoric, anyone interested in mnemonic systems, and anyone trying to work out for himself a theory of memory, should read Aristotle's treatise "On Memory," with the comments by Richard Sorabji."--"International Studies in Philosophy" "Sorabji's book is a sample of care, intelligence, and subtlety that the Anglo-Saxon philosophers do not hesitate to invest in such enterprises.... The notes seem to leave no detail, no textual difficulty unilluminated."--"Revue de Metaphysique et de Morale ". (shrink)

Richard Tieszen presents an analysis, development, and defense of a number of central ideas in Kurt Gödel's writings on the philosophy and foundations of mathematics and logic. Tieszen structures the argument around Gödel's three philosophical heroes - Plato, Leibniz, and Husserl - and his engagement with Kant, and supplements close readings of Gödel's texts on foundations with materials from Gödel's Nachlass and from Hao Wang's discussions with Gödel. He provides discussions of Gödel's views, and develops a new type of (...) platonic rationalism that requires rational intuition, called 'constituted platonism'. (shrink)

With his remarkable range of vision, the author takes us on a voyage of discovery that leads from Eden to Fellini, from paradise to parody - plotting the various models of the imagination as: Hebraic, Greek, medieval, Romantic, existential and post-modern.

Suppose there are two people having a moral disagreement about, say, abortion. They argue in a familiar way about whether fetuses have rights, whether a woman’s right to autonomy over her body overrides the fetus’s welfare, and so on. But then suppose one of the people says “Oh, it’s all just a matter of opinion; there’s no objective fact about whether fetuses have rights. When we say that something is morally forbidden, all we’re really doing is expressing our disapproval of (...) it.” The other person protests: “No!—that’s totally wrong. Of course there are objective moral truths.” And suppose their dispute now settles on this new matter of whether there are objective moral facts, and the debate continues. They’ve now stopped discussing abortion, and are discussing the nature of any moral debate about abortion; they’ve stopped doing ethics, and started doing metaethics. If wondering about what one morally ought to do is to engage in ethical thought, then wondering about what one is doing when one wonders about what one morally ought to do is to engage in metaethical thought. When we make public moral judgments are we stating facts, or are we just expressing our opinions? And if there are moral facts, then what kind of fact are they? Can moral judgments be true or false? Can moral judgments be justified, and if so how? These kinds of questions are the domain of metaethics. (I’m not saying that there is a crisp and principled line to be drawn between meta-ethics and regular ethical discourse; but it is, if nothing else, a pedagogically useful division of labor.). (shrink)

Attention to internal body sensations is practiced in most meditation traditions. Many traditions state that this practice results in increased awareness of internal body sensations, but scientific studies evaluating this claim are lacking. We predicted that experienced meditators would display performance superior to that of nonmeditators on heartbeat detection, a standard noninvasive measure of resting interoceptive awareness. We compared two groups of meditators (Tibetan Buddhist and Kundalini) to an age- and body mass index-matched group of nonmeditators. Contrary to our prediction, (...) we found no evidence that meditators were superior to nonmeditators in the heartbeat detection task, across several sessions and respiratory modulation conditions. Compared to nonmeditators, however, meditators consistently rated their interoceptive performance as superior and the difficulty of the task as easier. These results provide evidence against the notion that practicing attention to internal body sensations, a core feature of meditation, enhances the ability to sense the heartbeat at rest. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pierre Jurieu's Contribution to Bayle's Dktionnaire KARL C. SANDBERG PIERRE BAYLE'S VIEWSon faith and reason1as they appear throughout his Dictionnaire historique et critique (1697) may be reduced to two basic points. First, the doctrines of Christian theology are vulnerable to a great number of rational objections which would seem to destroy them. Second, reason itself is not a reliable guide in areas of speculative knowledge and should be made (...) to bow to the authority of revelation. This position in its essence is neither irreligious nor antireligious. On the contrary, it is closely related to the general stream of seventeenth-century fideism,~ and is only the logical extension of views which Bayle had expressed as a Protestant controversialist in his early writings2 Moreover, recent studies of Bayle in his milieu have presented compelling evidence that Bayle himself lived, wrote, and died as some kind of believing member of the Reformed Church. 4 It is not less certain, however, that Bayle's Dictionnaire was one of the most powerful antireligious influences of the Enlightenment, s for the eighteenth-century rationalists found in it such a tone of polemics coupled with such an abundant display of the rational insufficiencies of Christianity, that they could not take Bayle's ostensible fideism seriously. This paradox leads one to wonder why Bayle as a believer should so insist upon the disparity he found between faith and reason if he did not intend to lead an attack upon religion in general. What would account for the presence of the penetrating rational critique of Christian doctrines except a desire to discredit them? A partial answer might be suggested by Bayle's method of exposition and disputa1By faith is meant the belief in the speculative doctrines of Calvinist Protestantism, such as the Trinity, the Incarnation, and Providence, and in the authority of revelation. By reason is meant essentially the Cartesian method, whose criterium of truth is incontrovertible evidence. See Richard Popkin, "Pierre Bayle's Place in 17th-century Scepticism," in Pierre Bayle, le philosophe de Rotterdam, ed. Paul Dibon (Amsterdam: 1959). 8During his participation in the Protestant-Catholic controversies of 1682-1687, Bayle became keenly aware that no Christian dogma was susceptible of rational proof. See his Commentaire Philosophique (1686)in his Oeuvres diverses (The Hague: 1737), II, 438. He had, however, previouslybeen convinced of the frailty of reason as a guide in speculative areas (but not in practical matters of morality). See his NouveUes de la Republique des Lettres, September, 1684, in Oeuvres diverses, I, 132-133. These works will hereafter be abbreviated CP, OD, and NRL, respectively. Other abbreviations to be used are DHC, Dictionnaire historique el critique; LFam, Lettres de M. Bayle ~ sa famille; SCP, Supplement du Commentaire philosophique (1687); PDC, Pens~es diverses sur la eomOte (1682); CC, La Cabale ehimdrique (1691). All of these works except the Dictionnaire are found in the Oeuvres diverses. The fourth edition of the Dictionnaire (1730) is the one cited here. 4See Paul Dibon, ed., Pierre Bayle, le philosophe de Rotterdam (Amsterdam: 1959), and Elizabeth Labrousse, Pierre Bayle, Vol. I, "Du Pays de Foix i~la cit~ d'Erasme" (La Haye: 1963). 6Paul Hazard, La Pens~e europ$enne au XVIII~me si~cle de Montesquieu (~ Lessing (Paris [1946], I, 44. [59] 60 HISTORY OF PHILOSOPHY tion, for in examining any question he felt intellectually obligated to set forth the strong and weak points of both sides. One can never boast of having proved a point, he said, without having stated and answered the strongest objections of one's opponent. ~ What subsequent readers found heterodox was possibly only Bayle's statement of his opponent's position. This answer is insufficient, however, because as Bayle had previously become aware of irreconcilable differences between faith and reason in the course of his early thought and writings, he had been extremely reluctant to voice the implications of his disquieting discoveries (1682-1687).7 Ten years later in the Dictionnaire, on the other hand, he seemed to go out of his way to state them with all possible clarity and vigor. It was this change in emphasis in the expression of his thought which was responsible for the great antireligious... (shrink)

Is there a moral right to freedom of conscience? Should a legal right to freedom of conscience be established in each country on Earth? This essay argues for negative answers to both questions. The term freedom of conscience might refer to freedom of thought and the freedom of expression that sustains freedom of thought. In this sense we might affirm the right of each person to form individual opinions about the right and the good, about what we owe one another (...) by way of due consideration of others, and about what is worthy of pursuit in life, on the basis of free discussion of these matters. In the present discussion, these freedoms, important as they might be, are not under consideration. Let us assume freedom of thought and expression are secured. The status of freedom of conscience in the sense that is our concern in this discussion is still wide open. (shrink)

A-LOGIC is a full-length book (600+ pg). It functions as a system of logic designed to: 1) solve the standard paradoxes and major problems of standard mathematical logic; 2) minimize that logic's anomalies with respect to ordinary language, yet; 3) prove that all theorems in mathematical logic are tautologies. It covers lst order logic the logic of the words "and", "or", "not", "all" and "some". But it also has a non truth functional "if...then" and differs in its definition of validity, (...) its semantics and its theorems. In the book A-logic is contrasted step by step with standard mathematical logic as presented and defended by Quine. All of standard logic's theorems are proven tautologies in A-logic. But some argument-forms called "valid" in standard logic are not valid in A-logic -- notably non-sequiturs like "(P and not-P), therefore Q". In addition A-logic has many tautologies with its non-truthfunctional "if ... then" that standard logic can not derive -- e.g., "Not-(if P&Q then not-P)." A-logic's semantics is based on syntactically defined concepts of logical synonymy and containment of meanings rather than on truth-values and truth-functions. Its "if...then" sentences (called "C-conditionals") are valid if and only if (i) the meaning of the consequent is logically contained in that of the antecedent, and (ii) the antecedent and consequent are jointly consistent. The predicate "valid" holds only of C-conditionals and arguments. No valid C-conditionals are translatable into standard logic though all of them imply tautologies of standard logic. (shrink)

In this extended essay, Vittorio Hösle develops a theory of the comical and applies it to interpret both the recurrent personae played by Woody Allen the actor and the philosophical issues addressed by Woody Allen the director in his films. Taking Henri Bergson’s analysis of laughter as a starting point, Hösle integrates aspects of other theories of laughter to construct his own more finely-articulated and expanded model. With this theory in hand, Hösle discusses the incongruity in the characters played by (...) Woody Allen and describes how these personae are realized in his work. Hösle focuses on the philosophical issues in Allen’s major films by exploring the identity problem in _Play It Again, Sam_ and _Zelig_, the shortcomings of the positivist concept of reality in _A Midsummer Night’s Sex Comedy_, the relation between reality and art in _The Purple Rose of Cairo_, the objective validity of morality in _Crimes and Misdemeanors_, the power of evil in _Shadows and Fog_, and the relation between art and morality in _Bullets over Broadway_. He cites Allen’s virtuosic reinterpretation of older forms of expression and his integration of the fantastic into the comic universe—elements like the giant breasts, anxious sperm, extraterrestrials, ghosts, and magicians that populate his movies—as formal moves akin to those of Aristophanes. Both an overview of Allen’s work and a philosophical analysis of laughter, Hösle’s study demonstrates why Allen’s films have more to offer us—morally, philosophically, and artistically—than just a few laughs. “In _Woody Allen_, Vittorio Hösle goes a long way toward explaining everything you wanted to know about Allen but were afraid to ask. Just why exactly is he funny, and why does his humor have a strong appeal for academics? In his comprehensive analysis of Allen’s work, Hösle outlines a workable theory of humor, illustrates his conclusions by referring to the films and prose, and points out several philosophic motifs underlying Allen’s deceptively complex comedies. Hösle’s work elevates the enjoyment of Allen’s films from guilty pleasure to satisfying intellectual engagement with an intriguing contemporary thinker and artist.” —Richard A. Blake, S.J., Boston College “Vittorio Hösle presents a compelling overview of Allen’s work in which he discusses different theories of laughter and argues for the priority of the incongruity theory as the only one able to answer the normative question, what distinguises good from bad laughter? On this theoretical basis he goes on to delve into both the humor and the philosophical profundity of Allen’s films.” —Sander Lee, Keene State College. (shrink)

In this paper, I will try to show that what we think of as the noun-verb distinction can be understood as a consequence of antisymmetry, in the sense of Kayne (1994). (I will also make some remarks (in the first two sections) concerning counterparts of the human language faculty in other species.1) Properties of nouns will, from this perspective, lead me to suggest that sentential complements (and derived nominals) involve relative clause structures.

Die Reihe Monographien und Texte zur Nietzsche-Forschung (MTNF) setzt seit mehreren Jahrzehnten die Agenda in der sich stetig Nietzsche-Forschung. Die Bände sind interdisziplinär und international ausgerichtet und spiegeln das gesamte Spektrum der Nietzsche-Forschung wider, von der Philosophie über die Literaturwissenschaft bis zur politischen Theorie. Die Monographien und Sammelbände unterliegen jeweils einem strengen Peer-Review.

It was the general practice until not at all long ago to look at Turner as one of the moderns, if not as one of the founding fathers of modern art. He was a man straddling the fence between two periods, but he was looking forward. In a history of art that marches through time, forever endorsing what is about to be forgotten, wrapping up, as it were, one style to open eagerly the package of the next, such a position (...) is most enviable for, no matter where the times may be going, it is a hallmark of greatness to be ahead of one's time. There were things to be explained, of course, Turner himself, a keen pessimist, did not approved of the future and had little use for the present.1 His love of art was schooled on Reynolds' Discourses, and he remained loyal to them; his poets were Thomson and Pope and, among contemporaries, the rather frigid but delicate Samuel Rogers, a classicist par excellence. Above all, however, Turner looked back to classical antiquity for training and guidance, and for the delectation of his heart. And the poetry of the ancients, such as he could obtain it in translation, was as important to him as their art. What does one do with a declared classicist whom a historicizing hindsight feels compelled to rescue as a man of the future by making him a Romantic? It is a challenge stylistic analysis likes to meet, for it goes beneath what it declares to be the surface of a work of art to find its style, the essence that must conform to the presumed spirit of the age in question. The triumphant result of such studies in depth is a forgone conclusion as much as it is a surprise to the uninitiated. The facade of the Louvre, for example, used to suffice to make it a building in the classical style; it took the acumen of a Wölfflin to prove that it really was "baroque." The more the artist struggled not to be of his time, the more, poor man, he betrayed to the analyst that he was of his time. The Louvre facade stands convicted of being "classicizing-baroque."2 · 1. On Turner's view of the modern art of his time see John Gage, Color in Turner: Poetry and Truth , pp.97-105. On his literary education and taste see the seminal essay by Jerrold Ziff, "Turner on Poetry and Painting, " Studies in Romanticism 3 no. 4 : 193-215. Turner's poetical writings have been edited by Jack Lindsay, The Sunset Ship: The Poems of J.M.W. Turner . For the most recent and also most elegantly practical introduction to the work and life of Turner, see the catalogue of the Turner Exhibition of the Royal Academy and the Tate Gallery, Turner, 1775-1851 . · 2. This is now a commonplace of art historical teaching. See, for example, Gardner’s Art Through the Ages, 6th ed. Horst de la Croix and Richard G. Tansey , p. 632. On the theory behind the application to the particular case, see Heinrich Wölfflin, Principles of Art History, trans. M. D. Hottinger . Philipp Fehl, artist and art historian, is currently preparing a collection of essays, Art and Morality: Studies in the History of the Classical Tradition. He is a professor in the department of art and design at the University of Illinois at Urbana-Champaign. "Farewell to Jokes: The Last Capricci of Giovanni Domenico Tiepolo and the Tradition of Irony in Venetian Painting" was published in Summer 1979 in Critical Inquiry. (shrink)