Frege says, at the end of a discussion of formalism in the Foundations of Arithmetic, that his own foundational program “could be called formal” but is “completely different” from the view he has just criticized. This essay examines Frege’s relationship to Hermann Hankel, his main formalist interlocutor in the Foundations, in order to make sense of these claims. The investigation reveals a surprising result: Frege’s foundational program actually has quite a lot in common with Hankel’s. This undercuts Frege’s claim that (...) his own view is completely different from Hankel’s formalism, and motivates a closer examination of where the differences lie. On the interpretation offered here, Frege shares important parts of the formalist perspective, but differs in recognizing a kind of content for arithmetical terms which can only be made available via proof from prior postulates. (shrink)

The paper offers a survey of four key moments in which symbolisms for quantification were first introduced: §§11–2 of Frege’s Begriffsschrift ; Peirce’s ‘Algebra of Logic’ ; Peano’s ‘St...

ABSTRACT Intellectual historians have tended to focus either on shifts in sensibility or, more analytically, on the substance and structure of thought. They might usefully, however, examine both, as well as the reciprocal action of the one upon the other. This applies equally to political and religious ideas. In early twentieth-century Ireland, it was the relationship between religion and politics that stirred controversy. How would the institutions of church and state function, respectively, under Home Rule and the Union. Opposing camps (...) advanced competing prognostications. This contest forces us to rethink the claim that revolutionary insurgency in Ireland was a species of ‘political religion’. The evidence points to a more complex picture while at the same time highlighting the persistence of sectarian attitudes in the historiography of the period. (shrink)

Liberal democratic theory is the ideological expression of capitalism. Its paramount function is to justify the distribution of property and power which permits a minority of men to exploit and dominate the lives of the majority. A crucial device for carrying out this task is the elaboration of a theory of political equality which maintains the economic foundation of capitalism. But as capitalism is itself an evolving system, so the theory which protects its interests passes through important stages. A fundamental (...) change occurs in the transition from classical liberal theory to its contemporary articulation as political science. For Locke and Mill an egalitarian directive is first abstractly posited and then, through specific modification, withdrawn. For Schumpeter, however, what the classical doctrine would have regarded as the perversion of democracy, is itself made integral to the redefinition of the democratic process. The result of the behavioral restatement is the destruction of the tension which separates ideal imperatives from distorted reality and obfuscates the need and possibility of radical political change. (shrink)

This paper contrasts the morally suspect elements in Marx's comments on relations between men and women in the 1844 Manuscripts with the more sensible and liberal tone of Marx's remarks on the same topic in post-1844 writings. The contrast is used to illustrate the claim that an important moral shift occurs in Marx's thought around 1844, a shift away from the early concern to overcome bourgeois egoism and with it the antagonism between state and civil society, and toward the mature (...) concern to eliminate what are perceived to be unfair inequalities of power among economic agents in a capitalist economy.The concept of alienation articulated in the Manuscripts attempts to combine these disparate concerns, and in consequence Marx's discussion there founders interestingly. (shrink)

This excellent book provides a novel analysis of medieval theories of faith, using as its conceptual basis the notion of doxastic voluntarism: the thought that belief is in some sense in our power to choose. This notion fits very neatly with medieval accounts, since, other than in cases in which the intellect's assent is compelled, the medieval philosophers all maintained that assent to a given proposition—paradigmatically the supernatural claims of Catholic Christianity, the principal interest of the earliest thinkers in Nicolas (...) Faucher's account—was in some sense voluntary. Indeed, one thing that the book illustrates very nicely is the way in which problems that begin in the... (shrink)

New Blackfriars, Volume 103, Issue 1103, Page 36-61, January 2022.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

When God Becomes Goddess suggests that one way in which Americans may keep the traditional Western idea of God alive - paradoxically - is to embrace the Goddess of feminist theologies under the rubric of "enactment theology", Grigg demonstrates how these cutting edge theologies offer much more than critique of patriarchy; indeed, her gender aside, Grigg suggests that the Goddess may create an avenue through which the concept of God might be rescued from the pressing forces of secularization.

In lieu of an abstract, here is a brief excerpt of the content:Holly Flora’s published dissertation is a critical contribution to scholarship of the origins of the Meditationes Vitae Christi, a text strongly associated with the preaching and prayer habits of the early Franciscan order and perhaps the most representative example of the late-Medieval devotional and pictorial phenomenon often summarized as the “Vita Christi tradition.” For almost a century, art historians have invoked the MVC to explain iconographic innovations in late-Medieval (...) and Renaissance art, in particular the emergence of apocryphal images of the early life of Christ. In contrast to these earlier art-historical uses of this text, Flora advocates for a re-contextualization of the MVC. She joins scholars, in particular Isa Ragusa, who suggest that the didactic content and devotional strategies of the MVC reflect a particularly Franciscan strain of the Vita Christi, one aligned with the cura monialium , and argues that it was probably composed by a Franciscan friar for the spiritual benefit of a Poor Clare. The MVC’s distinctive emphasis on themes of virginity, silence, and enclosure support this interpretation, as do a series of interjected prompts or imperatives for the reader to visualize herself participating in poignant events that underscore the humanity of Christ and promote affective devotion. Flora sees the MVC as an attempt by a friar to reconcile the competing Franciscan notions of the vita activa and vita contemplativa in the interests of a cloistered nun under his care; the performative devotional strategies offered by the MVC would have afforded her the means to engage actively—even if only virtually—in a life of extreme poverty or to engage in charitable public giving as exemplified by the lives of Christ and the Virgin, opportunities Flora suggests were not readily available to a cloistered nun.Association of the MVC with the Poor Clares is bolstered by the manuscript that probably contains the closest witness to the original version of this text . The author’s compelling consideration of the textual, material, and pictorial content of Ms. ital. 115 supports the claim that it was made in Pisa around 1340–50 for the community of Poor Clares at the convent of San Martino. Although written on paper rather than parchment and painted in a humble watercolor technique, Ms. ital. 115 contains the lengthiest extant pictorial cycle of any version of the MVC, a characteristic that agrees with the image-centric devotional practices of medieval nuns. Flora’s comparison of those few MVC manuscripts that contain pictorial cycles of comparable length casts into relief those discrete iconographic characteristics of the Ms. ital. 115 cycle. Most telling are ubiquitous images of women that resemble Poor Clares, regular sewing companions of the Virgin, whose presence indicates the illuminators’ attentions to the interests and identities of their audience.Having established Ms. ital. 115’s Clarissan context, the remainder of the Devout Belief of the Imagination is a consideration of a Poor Clare’s interaction with the manuscript. Flora describes this experience as an intensely emotional didactic process that begins with instruction and culminates in imaginative devotional performances where Mary constitutes the main paradigm for female monastic conduct. The extensive account of the Virgin’s childhood in the Temple, for example, supplies a progressive lesson for a young nun on the virtues of discipline and devotion. The culmination of this spiritual maturation process is the extraordinary text-image structure of the Circumcision of the Christ child by his Mother. Not only does this event resonate with Franciscan typology, but as Flora demonstrates, Mary’s privileged position in sharing the suffering of Christ offers a powerful introduction to the affective devotional strategy that structures the viewer’s experience of the remainder of the manuscript. Extended pictorial sequences that follow metaphorically address the cloistered condition of a Poor Clare viewer and her particular spiritual needs. The Holy Family’s Flight into Egypt and their.. (shrink)

With Google marking its 20th year online, the piece provides a retrospective of cultural commentary and select works of Google art that have transformed the search engine into an object of critical interest. Taken up are artistic and cultural responses to Google by independent artists but also by cultural critics and technology writers, including the development of such evocative notions as the deep web, flickering man and filter bubble. Among the critiques that have taken shape in the works to be (...) discussed here are objects and subjects brought into being by Google, Googlization, Google’s information politics, its licensing as well as issues surrounding specific products such as Google Street View, as Google leaves the web, capturing more spaces to search. (shrink)

First published in 1986. Nations have a unity often described as 'cultural'; and within them there are divergences some of which are termed 'political'. But culture and politics do not, therefore, comprise two wholly distinct zones or orders of experience, the one marked by unity, the other by plurality. Unity and plurality interpenetrate. These insights, which derive from the thinking of Herder, have been fundamental to the work of F. M. Barnard. In this volume a number of scholars contribute, in (...) Barnardian vein, reflections on the tensions between unity and plurality in the history of ideas. The central underlying question is, in essence, 'what is the context of political life?' The question remains of more importance than any single answer. (shrink)

[Richard Wollheim] Any experiential view of pictorial meaning will assign to each painting an appropriate experience through which its mean can be recovered. When the meaning is representational, what is the nature of the appropriate experience? If there is agreement that the experience is to be described as seeing-in, disagreement breaks out about how seeing-in is to be understood. This paper challenges two recent interpretations: one in terms of perceived resemblance, the other in terms of imagining seeing. Neither view (...) gives a correct account of how the spectator distributes his attention between the marked surface and the represented object. /// [Robert Hopkins] I offer two, complementary, accounts of the visual nature of representational picturing. One, in terms of six features of depiction, sets an explanatory task. The other, in terms of the experience to which depiction gives rise, promises to meet that need. Elsewhere I have offered an account of this experience that allows this promise to be fulfilled. I sketch that view, and defend it against Wollheim's claim that it cannot meet certain demands on a satisfactory account. I then turn to Wollheim's own view, arguing that it suffers from crucial obscurities. These prevent it from meeting the explanatory commitments I describe, and are only exacerbated by the demands Wollheim himself imposes. (shrink)

The notion of ‘bipolar’ or ‘second‐personal’ normativity is often illustrated by such situations as that of one person addressing a complaint to another, or asserting some right, or claiming some authority. This paper argues that the presence of speech acts of various kinds in the development of the idea of the ‘second‐personal’ is not accidental. Through development of a notion of ‘illocutionary authority’ I seek to show a role for the ‘second‐personal’ in ordinary testimony, despite Darwall's argument that the notion (...) of the ‘second‐personal’ marks a divide between practical and theoretical reason. (shrink)

This volume collects a number of important and revealing interviews with Richard Rorty, spanning more than two decades of his public intellectual commentary, engagement, and criticism. In colloquial language, Rorty discusses the relevance and nonrelevance of philosophy to American political and public life. The collection also provides a candid set of insights into Rorty's political beliefs and his commitment to the labor and union traditions in this country. Finally, the interviews reveal Rorty to be a deeply engaged social thinker (...) and observer. (shrink)

Demonstrating Richard Rorty's breadth of scholarship and his influence on diverse issues across the social sciences and humanities, this comprehensive bibliography contains 1,165 citations. A unique reference work on neo-pragmatism, this bibliography is essential for anyone researching Rorty's work and its impact on philosophy, literature, the arts, religion, the social sciences, politics, and education.

Rudolf Carnap and W. V. Quine, two of the twentieth century's most important philosophers, corresponded at length—and over a long period of time—on matters personal, professional, and philosophical. Their friendship encompassed issues and disagreements that go to the heart of contemporary philosophic discussions. Carnap was a founder and leader of the logical positivist school. The younger Quine began as his staunch admirer but diverged from him increasingly over questions in the analysis of meaning and the justification of belief. That they (...) remained close, relishing their differences through years of correspondence, shows their stature both as thinkers and as friends. The letters are presented here, in full, for the first time. The substantial introduction by Richard Creath offers a lively overview of Carnap's and Quine's careers and backgrounds, allowing the nonspecialist to see their writings in historical and intellectual perspective. Creath also provides a judicious analysis of the philosophical divide between them, showing how deep the issues cut into the discipline, and how to a large extent they remain unresolved. (shrink)

Nystrom and Puckett's pamphlet gives us the most comprehensive picture available of Richard Rorty's political views. This is Rorty being avuncular, cranky, and straightforward: his arguments on patriotism, the political left, and philosophy—as usual, unusual—are worth pondering. This pamphlet will appeal to all those interested in Rorty's distinct brand of pragmatism and leftist politics in the United States.

This clearly designed and illustrated book is dedicated to a complete overview of Richard Meier's Barcelona Museum of Contemporary Art, completed in 1995. Located in the area of the Casa de la Caritat, a former monastic enclave, this extraordinary building maintains a unique dialogue between the city's old urban fabric and the contemporary art housed within the museum. Barcelona's first institution devoted entirely to twentieth-century art, this museum synthesizes the striking contemporaneity of its bold architecture and the rich medieval (...) history of its context. Meier's masterful use of materials -- pristine white aluminum panels, glass, stucco, and granite -- and characteristic modern style emphasize a play of solid and void, light and shadow, through the museum's fluid, geometric forms. An external ramp leads from the sweeping plaza to a triple-height atrium space. An internal, glass-enclosed ramp unfolds vertically along the front facade of the building, offering breathtaking vistas of a sixteenth-century church and the romantic city beyond and leading to three floors of open exhibition areas. This unique publication documents the dramatic design with preliminary sketches, models, drawings, and lavish color photographs. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)