Selected by CHOICE as an Outstanding Academic Book for 1995.

In this book it is argued that this picture of Feyerabend is false.

The T/t locus was a major focus of study by mouse geneticists during the 20th century. In the 70s, as the study of cell surface antigens controlling transplantation antigens was taking off, several laboratories hypothesized that alleles of this locus would control cell surface antigens important for embryonic development. One such antigen, the embryonal carcinoma F9 antigen was said to be an example. Other antigens were described on sperm and embryos that were said to be controlled by alleles at the (...) T/t complex. These findings were later found to be false. The history of the findings and their refutation is described. (shrink)

The following is an essay review of Paul Needham's translation of Pierre Duhem's Lemixte et la combinaison chimique and a numberof other essays. In this review we describe theintent and general features of Le mixte and try to place it in the larger context of Duhem'sprogram for energetics. The long essay (Essay3) opposing Marcellin Berthelot'sthermochemistry is singled out for detailedcommentary, since it gives Duhem's reasons forendorsing Josiah Willard Gibbs's chemicalstatics. We argue that a chemical mechanics ofa Gibbsian sort, defended in (...) Le mixte and otheressays in this volume, was the inspiration for,and basis of, Duhem's energetics. Needham'swelcome translations help an English-languageaudience to better understand the basiccontours of Duhem's important, if ultimatelymisguided, project. We conclude with somecomments on the difficulties in translatingDuhem and on the quality of the translationsNeedham has provided. (shrink)

George tackles the issues at the heart of the contemporary conflict of worldviews and shows that traditional beliefs may still be the best course of action.

John Preston has claimed that we must understand Paul Feyerabend's later, post-1970, philosophy in terms of a disappointed Popperianism: that Feyerabend became a sceptical, relativistic, literal anarchist because of his perception of the failure of Popper's philosophy. I argue that this claim cannot be supported and trace the development of Feyerabend's philosophy in terms of a commitment to the central Popperian themes of criticism and critical explanatory progress. This commitment led Feyerabend to reject Popper's specific methodology in favour of a (...) pluralistic methodology, but the commitment to the central values of criticism and critical explanatory progress remained . Moreover, methodological pluralism does not imply scepticism, relativism, or literal anarchism. Feyerabend was not a disappointed Popperian, but, in many respects, a die-hard pluralistic Popperian. (shrink)

During the latter half of the thirteenth century there arose around Tuscany a strange and unprecedented poetry, erudite, abstract, and arrogantly intellectual. It sang beyond courtly conventions about the wonders of the rational universe whose complex secrets the new speculative sciences were eagerly systematizing. Appropriating the language of natural philosophy, Aristotelian psychology, and even theology, love poetry developed a new theoretical understanding of its enterprise which allowed it to redefine love as spiritualized search for knowledge. This intellectualization of erotic desire (...) culminates in the Florentine sitlnovisti, a handful of learned poets who turned love poetry into an eclectic philosophical affair. Guido Cavalcanti’s famous canzone “Donna me prega” was universally considered to be not only the technically most perfect canzone ever written but also a rigorous philosophical treatise. As much as in our own day, exegeses of the poem were forced into the arcana of Scholastic Aristotelianism in order to make sense of its abstract, psychologistic definition of love’s essence. While Cavalcanti lyricized an Averroistic logic of the unified intellect, his younger friend Dante was preparing to put all of medieval philosophy, theology, and science into terza rima. It was in this terza rima that medieval Paris found perhaps its most felicitous expression, for the Divine Comedy represents, among other things, a creative transfiguration of the critical discourses Paris was diffusing throughout Europe.What recalls that situation today is the way Paris again marks the center of critical thought, while in Italiy a new generation of poets has emerged that translates the lessons of contemporary philosophy into poetry. In this essay I plan to discuss some of the most radical or, by analogy, “stilnovistic” of these lyricists. For purposes of convenience I will refer to them as the “favorite malice” poets. The phrase comes from the title of an anthology of select contemporary Italian poetry, recently published in a bilingual English edition: The Favorite Malice: Ontology and Reference in Contemporary Italian Poetry.2 The title alludes to a passage of Friedrich Nietzsche: “It is my favorite malice and art that my silence has learned not to betray itself through silence.” These words from Thus Spoke Zarathrustra serves as the anthology’s epigraphs and signal the peculiar poetics that brings the poets together in one volume. They are not brought together as a “school” but as a loose convergence of individual practices. The most illustrious name among the group is that of Andrea Zanzotto , who belongs to an older generation but whom the other poets call their “youngest traveling companion.” The “older” companions include Nanni Cagnone, Luigi Ballerini, Raffaele Perrotta, and Angelo Lumelli. Robert P. Harrison is assistant professor of Italian at Stanford University. He has published a book of poems, The Murano Workshop , and articles on Dante, Kierkegaard, Nietzsche, and liberal philology. The Body of Beatrice is the title of his work in progress. (shrink)

There is no question, of course, that music is a temporal art. Stravinsky, noting that it is inconceivable apart from the elements of sound and time, classifies it quite simply as "a certain organization in time, a chrononomy."1 His definition stands as part of a long and honored tradition that encompasses such diverse figures as Racine, Lessing, and Schopenhauer. Schopenhauer, putting the case in its strongest terms, remarks that music is "perceived solely in and through time, to the complete exclusion (...) of space," thus making explicit the opposition between time and space and ruling out the latter as a possible area for legitimate musical experience. Yet anyone familiar with the philosophical and theoretical literature dealing with music must be struck by the persistence with which spatial terminology and categories appear. Indeed, it would seem to be impossible to talk about music at all without invoking spatial notions of one kind or another. Thus in discussing even the most elementary aspects of pitch organization—and among the musical elements, only pitch, we should remember, is uniquely musical—one finds it necessary to rely upon such spatially oriented oppositions as "up and down," "high and low," "small and large" , and so on. Space, then, pace Schopenhauer, apparently forms an inseparable part of the musical experience. · 1. Igor Stravinsky, Poetics of Music in the Form of Six Lessons, trans, Arthur Knodel and Ingolf Dahl , p. 28. Robert P. Morgan is active as both a music composer and theorist. A professor of music at the University of Chicago, he is currently composing a concerto for flute, oboe, and string orchestra to be performed at Swarthmore College. His previous contribution to Critical Inquiry, "On the Analysis of Recent Music," appeared in the Autumn 1977 issue. Anthony Gilbert responds to the current essay in "Musical Space: A Composer's View". (shrink)

This monograph is designed to provide an introduction to the principal areas of tense logic. Many of the developments in this ever-growing field have been intentionally excluded to fulfill this aim. Length also dictated a choice between the alternative notations of A. N. Prior and Nicholas Rescher - two pioneers of the subject. I choose Prior's because of the syntactical parallels with the language it symbolizes and its close ties with other branches of logi cal theory, especially modal logic. The (...) first chapter presents a wider view of the material than later chapters. Several lines of development are consequently not followed through the remainder of the book, most notably metric systems. Although it is import ant to recognize that the unadorned Prior-symbolism can be enriched in vari ous ways it is an advanced subject as to how to actually carry off these enrichments. Readers desiring more information are referred to the appropri ate literature. Specialists will notice that only the first of several quantifi cational versions of tense logic is proven complete in the final chapter. Again constraints of space are partly to blame. The proof for the 'star' systems is wildly complex and at the time of this writing is not yet ready for publi cation. (shrink)

In this essay, I contend that Polanyi’s view of metaphor as outlined in Meaning (1975), has important heuristic implications for understanding the way metaphor functions in trauma therapy. I also contend that in his seminal book on trauma, The Body Keeps the Score (2014), Bessel van der Kolk, M.D., although he rarely uses the term, relies on metaphor as a vital element in his treatment of trauma victims. Analysis of Van der Kolk’s practice further confirms and extends Polanyi’s view of (...) the bodily roots of all knowledge. Juxtaposing Polanyi’s theory and Van der Kolk’s practice demonstrates how unspeakable trauma can be overcome through the embodied metaphoric/linguistic matrix of human speech. (shrink)

QBism is an interpretation of quantum mechanics that posits quantum probabilities as subjective Bayesian probabilities, whence its name. By avoiding experientially unfulfilled speculations about what exists prior to measurement, QBism seems to make a close encounter with the phenomenological method. What follows is an interview with QBism’s founder and principal champion, the physicist Christopher Fuchs.

This paper examine’s Jerry Fodor’s attempt to naturalize the human mind by encompassing it within a new mechanistic ontology. It then explores Polanyi’s view of mind’s embodiment and meaning’s emergence in an effort to uncover some fundamental incoherencies in Fodor’s naturalization project.

The target article described the ubiquitous and often undefined idea of as the basis for sensory coding in taste, and its attendant problems. The commentaries cover the full range of reaction to this argument, from full support, to qualification of the level of analysis to which apply and the nature of empirical support, to full denial of either the characterization of the literature or that such characterization reveals any problem. Many commentators, and I, go on to propose other types and (...) sources for taste analysis, which I relate to the. (shrink)

The alarming rise in heavy drinking on college campuses has resulted in a new federal law allowing colleges to notify parents of infractions of alcohol related laws and policies. Before mandating such notifications a college should remember its “nurturing role” vis-a-vis students. Since no proffered reason is strong enough to justify mandatory notification, colleges should engage only in selective notification based on carefully established criteria. Finally, since “binge drinking” is the major new factor within the larger problem of heavy drinking, (...) efforts should be made at the legislative level to lower the legal age to eighteen. This change will lead to more responsible drinking on the part of students. (shrink)