In exploring the nature of psychological explanation, this book looks at how psychologists theorize about the human ability to calculate, to speak a language and the like. It shows how good theorizing explains or tries to explain such abilities as perception and cognition. It recasts the familiar explanations of "intelligence" and "cognitive capacity" as put forward by philosophers such as Fodor, Dennett, and others in terms of a theory of explanation that makes established doctrine more intelligible to professionals and their (...) students.In particular, the book shows that vestigial adherence to the positivists' D-N model has distorted the view of philosophers of science about what psychologists (and biologists) do and has masked the real nature of explanation. Major sections in the book cover Analysis and Subsumption; Functional Analysis; Understanding Cognitive Capacities; and Historical Reflections.Robert Cummins is Associate Professor of Philosophy at the University of Illinois, Chicago Circle. A Bradford Book. (shrink)

This book articulates and defends Fregean realism, a theory of properties based on Frege's insight that properties are not objects, but rather the satisfaction conditions of predicates. Robert Trueman argues that this approach is the key not only to dissolving a host of longstanding metaphysical puzzles, such as Bradley's Regress and the Problem of Universals, but also to understanding the relationship between states of affairs, propositions, and the truth conditions of sentences. Fregean realism, Trueman suggests, ultimately leads to a (...) version of the identity theory of truth, the theory that true propositions are identical to obtaining states of affairs. In other words, the identity theory collapses the gap between mind and world. This book will be of interest to anyone working in logic, metaphysics, the philosophy of language or the philosophy of mind. (shrink)

Can it be rational to be religious? Robert Audi gives a persuasive positive answer through an account of rationality and a rich, nuanced understanding of what religious commitment means. It is not just a matter of belief, but of emotions and attitudes such as faith and hope, of one's outlook on the world, and of commitment to live in certain ways.

Tocqueville pessimistically predicted that liberty and equality would be incompatible ideas. Robert Dahl, author of the classic _A Preface to Democratic Theory,_ explores this alleged conflict, particularly in modern American society where differences in ownership and control of corporate enterprises create inequalities in resources among Americans that in turn generate inequality among them as citizens. Arguing that Americans have misconceived the relation between democracy, private property, and the economic order, the author contends that we can achieve a society of (...) real democracy and political equality without sacrificing liberty by extending democratic principles into the economic order. Although enterprise control by workers violates many conventional political and ideological assumptions of corporate capitalism as well as of state socialism. Dahl presents an empirically informed and philosophically acute defense of "workplace democracy." He argues, in the light of experiences here and abroad, that an economic system of worker-owned and worker-controlled enterprises could provide a much better foundation for democracy, political equality, and liberty than does our present system of corporate capitalism. (shrink)

This book offers a unified collection of published and unpublished papers by Robert Audi, a renowned defender of the rationalist position in ethics. Taken together, the essays present a vigorous, broadly-based argument in moral epistemology and a related account of reasons for action and their bearing on moral justification and moral character. Part I details Audi's compelling moral epistemology while Part II offers a unique vision of ethical concepts and an account of moral explanation, as well as a powerful (...) model of moral realism. Part III extends this account of moral explanation to moral responsibility for both actions and character and to the relation between virtue and the actions that express it. Part IV elaborates a theory of reasons for action that locates them in relation to three of their traditionally major sources: desire, moral judgment, and value. Clear and illuminating, Audi's introduction outlines and interconnects the self-contained but cumulatively arranged essays. It also places them in relation to classical and contemporary literature, and directs readers to large segments of thematically connected material spread throughout the book. Audi ends with a powerfully synthetic final essay. (shrink)

Creationists have acquired a more sophisticated intellectual arsenal. This book reveals the insubstantiality of their arguments. Creationism is no longer the simple notion it once was taken to be. Its new advocates have become more sophisticated in how they present their views, speaking of "intelligent design" rather than "creation science" and aiming their arguments against the naturalistic philosophical method that underlies science, proposing to replace it with a "theistic science." The creationism controversy is not just about the status of Darwinian (...) evolution—it is a clash of religious and philosophical worldviews, for a common underlying fear among Creationists is that evolution undermines both the basis of morality as they understand it and the possibility of purpose in life. In Tower of Babel, philosopher Robert T. Pennock compares the views of the new creationists with those of the old and reveals the insubstantiality of their arguments. One of Pennock's major innovations is to turn from biological evolution to the less charged subject of linguistic evolution, which has strong theoretical parallels with biological evolution, both in content and in the sort of evidence scientists use to draw conclusions about origins. Of course, an evolutionary view of language does conflict with the Bible, which says that God created the variety of languages at one time as punishment for the Tower of Babel. Several chapters deal with the work of Phillip Johnson, a highly influential leader of the new Creationists. Against his and other views, Pennock explains how science uses naturalism and discusses the relationship between factual and moral issues in the creationism-evolution controversy. The book also includes a discussion of Darwin's own shift from creationist to evolutionist and an extended argument for keeping private religious beliefs separate from public scientific knowledge. (shrink)

Why democracy? Most often this question is met with an appeal to some decidedly moral value, such as equality, liberty, dignity or even peace. But in contemporary democratic societies, there is deep disagreement and conflict about the precise nature and relative worth of these values. And when democracy votes, some of those who lose will see the prevailing outcome as not merely disappointing, but morally intolerable. How should citizens react when confronted with a democratic result that they regard as intolerable? (...) Should they revolt, or instead pursue democratic means of social change? In this book, Robert Talisse argues that each of us has reasons to uphold democracy - even when it makes serious moral errors - and that these reasons are rooted in our most fundamental epistemic commitments. His original and compelling study will be of interest to a wide range of readers in political philosophy and political theory. (shrink)

Many religious people are alarmed about features of the current age - violence in the media, a pervasive hedonism, a marginalization of religion, and widespread abortion. These concerns influence politics, but just as there should be a separation between church and state, so should there be a balance between religious commitments and secular arguments calling for social reforms. Robert Audi offers a principle of secular rationale, which does not exclude religious grounds for action but which rules out restricting freedom (...) except on grounds that any rational citizen would accept. The book describes the essential commitments of free democracy, explains how religious and secular moral considerations can be integrated to facilitate co-operation in a world of religious pluralism, and proposes ideals of civic virtue that express the mutual respect on which democracy depends. Audi offers a balanced and sophisticated treatment of the relations between religion and politics in a modern, secular society. (shrink)

Presenting the most comprehensive and lucid account of the topic currently available, Robert Audi's "Practical Reasoning and Ethical Decision" is essential reading for anyone interested in the role of reason in ethics or the nature of human action. The first part of the book is a detailed critical overview of the influential theories of practical reasoning found in Aristotle, Hume and Kant, whilst the second part examines practical reasoning in the light of important topics in moral psychology - weakness (...) of will, self-deception, rationalization and others. In the third part, Audi describes the role of moral principles in practical reasoning and clarifies the way practical reasoning underlies ethical decisions. He formulates a comprehensive set of concrete ethical principles, explains how they apply to reasoning about what to do, and shows how practical reasoning guides moral conduct. (shrink)

This is an interview by the Erasmus Journal for Philosophy and Economics with Robert Sugden. The interview covers the intellectual trajectory of Sugden, from his early critique of Amartya Sen’s liberalism, to his interactions with James Buchanan and his contributions to behavioural economics. A major theme in the interview is Sugden’s development of a rival program of normative economics based on modern behavioural economics. The interview also discusses Sugden’s recent book The Community of Advantage which synthesizes many of the (...) themes he worked on. (shrink)

Contemporary liberal thinkers commonly suppose that there is something in principle unjust about the legal prohibition of putatively victimless crimes. Here Robert P. George defends the traditional justification of morals legislation against criticisms advanced by leading liberal theorists. He argues that such legislation can play a legitimate role in maintaining a moral environment conducive to virtue and inhospitable to at least some forms of vice. Among the liberal critics of morals legislation whose views George considers are Ronald Dworkin, Jeremy (...) Waldron, David A.J. Richards, and Joseph Raz. He also considers the influential modern justification for morals legislation offered by Patrick Devlin as an alternative to the traditional approach. George closes with a sketch of a "pluralistic perfectionist" theory of civil liberties and public morality, showing that it is fully compatible with a defense of morals legislation. Making Men Moral will interest legal scholars and political theorists as well as theologians and philosophers focusing on questions of social justice and political morality. (shrink)

Is faith that p compatible with disbelief that p? I argue that it is. After surveying some recent literature on the compatibility of propositional and non-propositional forms of faith with the lack of belief, I take the next step and offer several arguments for the thesis that both these forms of faith are also compatible, in certain cases, with outright disbelief. This is contrary to the views of some significant recent commentators on propositional faith, including Robert Audi and Daniel (...) Howard-Snyder. The primary argument revolves around the possibility of maintaining a single faith through drastic changes in cognitive attitude. I argue that once we allow that propositional faith is compatible with weaker cognitive attitudes than belief, such as acceptance or assent, there is prima facie reason to consider propositional faith as sometimes compatible with disbelief. I then consider objections and offer some final reflections on the significance of the thesis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Robert C. Solomon IN DEFENSE OF SENTIMENTALITY "A sentimentalist is simply one who desires to have the luxury of an emotion without paying for it." —Oscar Wilde, De Profundis. 66TA That's Wrong with Sentimentality?"1 That tide of Mark JefV V ferson's 1983 Mindessay already indicates a great deal notonly about the gist of his article but about a century-old prejudice that has been devastating to ethics and literature (...) alike. According to that prejudice, it goes without saying that there is something wrong with it, even if it is difficult to put one's finger on it. To be called "sentimental" is to be ridiculed, or dismissed. Sentimentality is a weakness, it suggests hypocrisy. Or, perhaps it is the fact that sentimental people are so... so embarrassing. (How awkward it is talking or sitting next to someone weeping or gushing, when one is dry-eyed and somber.) Or, perhaps it is the well-confirmed fact that sentimentalists have such poor taste, and sentimental literature is, above all, literature that is cheap, superficial, and manipulative—in other words, verbal kitsch. Such mawkish literature jerks tears from otherwise sensible readers, and sentimentalists are those who actually enjoy that humiliating experience. Perhaps that is why Oscar Wilde thought that sentimentalists were really cynics ("Sentimentality is merely the bank holiday of cynicism").2 Or, perhaps what bothers us is what bothered Michael Tanner, that sentimental people indulge themselves in their feelings instead of doing what should be done.3 It is often said that the problem is that sentimentality and sentimental literature alike give us a false view of the world, distort our thinking and substitute a "saccharine" portrait of the world in place ofwhat we all know to be the horrible realities. Moreover, as Jefferson more than merely suggests, the "simple-minded sympathies " ofsentimentality might actually promote fascism and racism. Mary Midgley similarly suggests that sentimentality leads to brutality.4 But Philosophy and Literature, © 1990, 14: 304-323 Robert C. Solomon305 even where sentimentality is a harmless diversion—a Daphne du Maurier novel on a sad Saturday afternoon—it seems to be all but agreed that sentimentality is no virtue even ifit is not, like cruelty and hypocrisy, intrinsically vicious. Something is wrong with sentimentality; the only question is, what is it that is wrong? In this essay, I will argue that there is nothing wrong with sentimentality. Of course, like any quasi-ethical category, it admits of unwarranted excesses and hypocritical abuses, and is prone to various pathological distortions. But the prejudice against sentimentality, I want to argue, is ill-founded and in fact is an extension ofthat all-too-familiar contempt for the passions in Western literature and philosophy. Our disdain for sentimentality is the rationalist's discomfort with any display of emotion, warranted as well as unwarranted, appropriate as well as inappropriate. It is as ifthe very word, "sentimentality," has been loaded with the connotations of "too much"—too much feeling and too litde common sense and rationality, as if these were opposed instead of mutually supportive. It is as if sentimentality and its sentiments are never warranted and always inappropriate. The word has come to be used as the name of a deficiency or a weakness if not, as some critics have written, a malaise. But I take sentimentality to be nothing more nor less than the "appeal to tender feelings," and though one can manipulate and abuse such feelings (including one's own), and though they can on occasion be misdirected or excessive, there is nothing wrong with them as such and hence nothing (in that respect) wrong with literature that provokes us, that "moves" us, to abstract affection or weeping. Sentimentality implies no deficiency in one's rational faculties and does not imply any inappropriateness, unwillingness, or lack of readiness to act. Sentimentality does not involve any distortion of the world and it does not impede but rather prepares and motivates us to react in "the real world." It is not an escape from reality or responsibility, but, quite to the contrary, provides the precondition for ethical engagement rather than an obstacle to it. Historically, I want to trace the fate of sentimentality to... (shrink)

In the decades since his death, Adorno's thinking has lost none of its capacity to unsettle the settled, and has proved hugely influential in social and cultural thought. To most people, the entertainment provided by television, radio, film, newspapers, astrology charts and CD players seem harmless enough. For Adorno, however, the culture industry that produces them is ultimately toxic in its effect on the social process. Here, Robert Witkin unpacks Adorno's notoriously difficult critique of popular culture in an engaging (...) and accessible style, looking first at the development of the overarching theories of authority, commodification and negative dialectics within which Adorno's work needs to be seen. This book is an essential guide for understanding one of the key thinkers of our time. (shrink)

Exploring Certainty: Wittgenstein and Wide Fields of Thought considers how, where, and to what extent the thoughts and ideas found in Wittgenstein’s On Certainty can be applied to other areas of thought, including: ethics, aesthetics, religious belief, mathematics, cognitive science, and political theory. Robert Greenleaf Brice opens new avenues of thought for scholars and students of the Wittgensteinian tradition, while introducing original philosophies about human knowledge and cognition.

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)

The writings of Nishida Kitar , whose name has become almost synonymous with Japanese philosophy, continue to attract attention around the world. Yet studies of his thought in Western languages have tended to overlook two key areas: first, the influence of the generation of Japanese philosophers who preceded Nishida; and second, the logic of basho (place), the cornerstone of Nishida's mature philosophical system. The Logic of Nothingness addresses both of these topics. Robert Wargo argues that the overriding concern of (...) Nishida's mature philosophy, the attempt to give a reasonable account of reality that includes the reasonableness of that account itself--or what Wargo calls the problem of completeness--has its origins in Inoue Enryo's (1858-1919) and Inoue Tetsujiro's (1855-1944) preoccupation with the problem of standpoints. A translation of one of Nishida's most demanding texts, included here as an appendix, demonstrates the value of Wargo's insightful analysis of the logic of basho as an aid to deciphering the philosopher's early work. (shrink)

Building on his long-standing work in metaphysics and Asian philosophy, Robert Cummings Neville presents a series of essays that cumulatively articulate a contemporary, progressive Confucian position as a global philosophy. Through analysis of the metaphysical and moral traditions of Confucianism, Neville brings these traditions into the twenty-first century. According to Confucianism, rituals define most of our relations with other individuals, social institutions, and nature, and while rituals make possible the positive institutions of high human civilization, they may also lead (...) to harmful behaviors, including racism, xenophobia, and sexism. Neville argues that the amendment of rituals that institutionalize oppression is a positive task, which should be undertaken from within a skillfully ritualized life rather than in the form of external criticism. Confucianism, in Neville's hands, is a left-wing, progressive, liberal political philosophy, one that can address institutionalized oppression and suggest a path for moving forward. (shrink)

Modernity has challenged the ancient ideal of a universal quest for wisdom, and today's world of conflicting cultures and values has raised further doubts regarding the possibility of objective ethical standards. Robert Kane refocuses the debate on the philosophical quest for wisdom, and argues that ethical principles about right action and the good life can be seen to emerge from that very quest itself. His book contends that the search for wisdom involves a persistent striving to overcome narrowness of (...) vision that comes from the inevitable limitations of finite points of view. When applied to questions of value and the good life, this striving has ethical implications about the way we should treat ourselves and others. This study argues for the merits of this central thesis against alternative theories in contemporary normative ethics, and discusses its practical applications for social ethics, political philosophy, law and moral education. (shrink)

The work of Jacques Derrida can be seen to reinvent most theories. In this book Robert Smith offers both a reading of the philosophy of Derrida and an investigation of current theories of autobiography. Smith argues that for Derrida autobiography is not so much subjective self-revelation as relation to the other, not so much a general condition of thought as a general condition of writing - what Derrida calls the 'autobiography of the writing' - which mocks any self-centred finitude (...) of living and dying. In this context, and using literary-critical, philosophical, and psychoanalytical sources, Smith thinks through Derrida's texts in a new, but distinctly Derridean, way, and finds new perspectives to analyse the work of classical writers including Hegel, Nietzsche, Kierkegaard, Freud, and de Man. (shrink)

Drawing on Aristotle's Nicomachean Ethics and the work of Bernard Lonergan and Martha Nussbaum, Robert J. Fitterer tests the assumption that the inclusion of the emotions leads to bias in objective judgments or when determining moral truths.

_From one of the leading historians of Christianity comes this sweeping reassessment of religious freedom, from the church fathers to John Locke_ In the ancient world Christian apologists wrote in defense of their right to practice their faith in the cities of the Roman Empire. They argued that religious faith is an inward disposition of the mind and heart and cannot be coerced by external force, laying a foundation on which later generations would build. Chronicling the history of the struggle (...) for religious freedom from the early Christian movement through the seventeenth century, Robert Louis Wilken shows that the origins of religious freedom and liberty of conscience are religious, not political, in origin. They took form before the Enlightenment through the labors of men and women of faith who believed there could be no justice in society without liberty in the things of God. This provocative book, drawing on writings from the early Church as well as the sixteenth and seventeenth centuries, reminds us of how “the meditations of the past were fitted to affairs of a later day.”. (shrink)

If free markets consist in nothing more than “capitalist acts between consenting adults,” and if in the old legal maxim “volenti non fit injuria,” then it seems to follow that free markets do no wrongs. But that defense of free markets wrenches the “volenti” maxim out of context. In common law adjudication of disputes between two parties, it is perfectly appropriate to cast standards of “volenti” narrowly, and largely ignore “duress via third parties” (wrongs done to or by others who (...) are not themselves party to the action). In economic markets, of course, those third-party effects are rife. But we want them to be rectified systematically, not piecemeal through particular cases between particular parties that happen to come to court. That is the proper province of political philosophers and system-designers, in critiquing and constraining the operation of the market. (shrink)

The representationist maintains that an experience represents a state of affairs. To elaborate, a stimulus of one’s sensorium produces, according to her, a “phenomenal composite” made up of “phenomenal properties” that are the typical effects of certain mind-independent features of the world, which are thereby represented. It is such features, via their phenomenal representatives, of which the subject of an experience would become aware were she to engage in introspection. So, one might ask, what state of affairs would be represented (...) by an illusory experience, that is, one to which no state of affairs in the vicinity of its subject corresponds? The answer, according to the standard defense of representationism (SD), is the same state of affairs that would obtain in its subject’s surroundings if it were veridical. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.1 (2003) 80-97 [Access article in PDF] Literary Truth as Dreamlike Expression in Foucault's and Borges's "Chinese Encyclopedia" Robert Wicks ALTHOUGH THE TOPIC REMAINS MOSTLY unexplored, Michel Foucault had an aesthetic and intellectual attraction towards writers and artists in the Spanish-speaking tradition. For example, at the conclusion of his Histoire de la folie (Madness and Civilization, 1961)—a book which brought him extensive intellectual recognition in (...) France—Foucault drew his readers' attention to José de Goya y Lucientes's (1746-1828) well-known etching, El Sueño de la Razón Produce Monstruos (The Sleep of Reason Brings Forth Monsters, Plate 43 of Los Caprichos, 1797). In Foucault's estimation, by revealing a "night which is doubtless that of classical unreason," Goya's work represented a socially removed condition within which people encounter "what is most solitary" and experience what is "deepest" within themselves. With his reference to Goya's imagery, Foucault illustrated a major theme of his history of madness, namely, how people referred to as "mentally ill" experienced a gradual, physical exclusion from participation in public society, and how they were eventually isolated in a more frightening way: within their physical confinement, they were subject to techniques of psychological and spiritual alienation that reduced them to a condition of utter solitude.In a comparable, if not more central manner, Foucault used as thematic motifs for the preface, first and second chapters of a book for which he is widely known, Les Mots et les choses (The Order of Things, 1966), the work of three major writers and artists from the Spanish-speaking world: Jorges Luis Borges (1899-1986), Diego Velázquez (1599-1660), and Miguel de Cervantes (1547-1616). Among these references, the most popular is probably Foucault's discussion of [End Page 80] Velázquez's Las Meninas—a painting which captured Foucault's interest as a perfect exemplar of its time period—and which inspired him to devote the entire first chapter of his book to decoding the mechanics of its perspectival arrangement. And within the community of those who read, write and discuss the interrelationship between Foucault's thought, literary theory and the contemporary emphasis upon the multivocal quality of textual meaning, Foucault's citation of an excerpt from a short story by Borges—the subject of this essay—is also familiar. Foucault introduced his 1966 book, The Order of Things, with the following words: This book first arose out of a passage in Borges, out of the laughter that shattered, as I read the passage, all the familiar landmarks of my thought—our thought, the thought that bears the stamp of our age and our geography—breaking up all the ordered surfaces and all the planes with which we are accustomed to tame the wild profusion of existing things, and continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other. This passage quotes a "certain Chinese encyclopedia" in which it is written that "animals are divided into: (a) belonging to the Emperor, (b) embalmed, (c) tame, (d) suckling pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies." In the wonderment of this taxonomy, the thing we apprehend in one great leap, the thing that, by means of the fable, is demonstrated as the exotic charm of another system of thought, is the limitation of our own, the stark impossibility of thinking that. 1The short story from which Foucault extracted the above, quasi-cubistic, excerpt was published in Borges's 1952 collection, Otras Inquisiciones (Other Inquisitions), and is entitled, "The Analytical Language of John Wilkins." Although this story's entirety is rarely surveyed in discussions of Foucault, appreciating its broader contents helps illuminate why Foucault began The Order of Things with this entertaining and bizarre segment. Borges's original... (shrink)

“Signature Event Context” offers a critique of previous theories of communication, a critique of previous theories of communication, a critique that seems to open the way toward a new and freer notion of reading. My response to this view will be to point out that the proffered freedom is quite illusory, partly because off certain problems in the theory itself but especially because there is no path open from that theory to any practice, a point that is merely underscored by (...) Derrida’s own practice in response to being read by Searle.Derrida’s argument in “Sec” can be summarized in the following way: A written text can survive the absence of its author, the absence of its addressee, the absence of its object, the absence of its context, the absence of its code—and still be read. The argument also includes the stipulation that, as argued more fully elsewhere but briefly here as well, what is true of writing is also true of all other forms of communication: that they are all marked, fundamentally, by the difference that constitutes arche-writing and is so palpable in actual written texts.My summary is, I hope, at least tolerably fair and accurate. I believe that this summary of “Sec”’s argument also describes, in however compressed a form, what many American teachers and critics think they have learned from Derrida: namely, that reading can be freed from responsibility to anything prior to the act of reading, and, specifically, from those things named in the summary. As Derrida puts it himself: “writing is read, and ‘in the last analysis’ does not give rise to a hermeneutic deciphering, to the decoding of a meaning or truth” . 2. Richard Rorty, “The Higher Nominalism in a Nutshell: A Reply to Henry Staten,” Critical Inquiry 12 : 464. Robert Scholes is Andrew W. Mellon Professor of Humanities at Brown University, where he directs the Center for Modern Culture and Media. His last book was Textual Power. His next, with Nancy R. Comley and Gregory L. Ulmer, will be a text book called Text Book. (shrink)

"Many in elite circles yield to the temptation to believe that anyone who disagrees with them is a bigot or a religious fundamentalist. Reason and science, they confidently believe, are on their side. With this book, I aim to expose the emptiness of that belief." --From the introductionAssaults on religious liberty and traditional morality are growing fiercer. Here, at last, is the counterattack.Showcasing the talents that have made him one of America's most acclaimed and influential thinkers, Robert P. George (...) explodes the myth that the secular elite represents the voice of reason. In fact, George shows, it is on the elite side of the cultural divide where the prevailing views frequently are nothing but articles of faith. Conscience and Its Enemies reveals the bankruptcy of these too often smugly held orthodoxies while presenting powerfully reasoned arguments for classical virtues.In defending what James Madison called the "sacred rights of conscience"--rights for which government shows frightening contempt--George grapples with today's most controversial issues: abortion and infanticide, same-sex marriage, genetic manipulation, euthanasia and assisted suicide, religion in politics, judicial activism, and more. His brilliantly argued essays rely not on theological claims or religious authority but on established scientific facts and a philosophical tradition that extends back to Plato and Aristotle.Conscience and Its Enemies elevates our national debates. It sets forth powerful arguments that secular liberals are unaccustomed to hearing--and that embattled defenders of traditional morality so often fail to marshal. It also lays out the principles and arguments for rebuilding a moral order. (shrink)

Originally published in 1931, Sin and Sex, including an introduction from Bertrand Russell, constitutes an able and vigorous attempt on the part of Robert Briffault to induce his readers to base their ethical opinions upon something other than the prejudices of the average members of the last generation.

Symptoms of ConsciousnessIn this series of short essays, stories, poems, and personal observations, Robert A. Burton, neurologist and writer, uses both fiction and nonfiction to explore many paradoxes and contradictions inherent in scientific inquiry. A novelist as well as author of On Being Certain and A Skeptic’s Guide to the Mind, Burton brings story to science and science to story.

Though he has worked almost exclusively in collaborative mediums like radio and film, Orson Welles has always tended to think of himself as an individual author. "Any production in any medium is a one-man production," he said to me. On the question of sharing creative responsibility for the works that bear his name, he is deeply ambivalent. His insistence on multiple billings for himself is legendary. As I can well testify, the very mention of the term collaboration at a wrong (...) moment can be enough to send him into a rage. The controversy over who scripted Citizen Kane initiated by Pauline Kael hurt him very deeply. That the wound still festers to this day is evident in the rancor with which he speaks of former associates like John Houseman. Yet in quieter moments he will fully concede how indispensable his principal collaborators have been to him and will openly discuss the nature and extent of their contributions. He is especially full of praise for cinematographers with whom he has worked over the years, such as Gregg Toland, Russell Metty, and, more recently, Gary Graver. On Citizen Kane, he singles out four individuals whom he thinks deserve special recognition: writer Herman Mankiewicz, art director Perry Ferguson, composer Bernard Herrmann, and Toland. Of these, he says, Toland's contribution to the film was the greatest, second in importance only to his own. In this essay I deal with the history and nature of Welles' collaboration with Toland on Citizen Kane—what brought them together, their working relationship, and the characteristics and rationale of the visual plan they created for the film. As we shall see, Toland brought a largely pre-conceived visual plan to Citizen Kanewhich he had been working out in his previous films. Welles accepted Toland's plan so readily because he recognized how dramatically appropriate it was to the story material. Toland's cinematography for Citizen Kane also left a major legacy to Hollywood films of the 1940s.Robert L. Carringer, is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign. This essay is excerpted from his book in progress, The Road through Xanadu. His most recent contribution to Critical Inquiry was "The Scripts of Citizen Kane". (shrink)

The best-known controversy in film criticism of recent years has been over the authorship of the Citizen Kane script. Pauline Kael first raised the issue in a flamboyant piece in The New Yorker in 1971. Contrary to what Orson Welles would like us to believe, Kael charged, the script for the film was actually not his work but almost wholly the work of an all-but-forgotten figure, one of Hollywood's veteran screenwriters, Herman J. Mankiewicz. . . . The first two drafts (...) of the Citizen Kane script were written by Herman Mankiewicz and John Houseman in seclusion in the desert at Victorville, California, during March, April, and May 1940. Officially, Houseman was there as an editor. But part of his job was to ride herd on Mankiewicz, whose drinking habits were legendary and whose screenwriting credentials unfortunately did not include a reputation for seeing things through. Detailed accounts of the Victorville interlude have been given by Houseman in his autobiography and by Kael in "Raising Kane." There was constant interchange between Victorville and Hollywood, with Houseman going in to confer on the script and Welles sending up emissaries and regularly receiving copies of the work in progress. Welles in turn was working over the draft pages with the assistance of his own secretary, Katherine Trosper, and handing the revised screenplay copy in its rough state over to Amalia Kent, a script supervisor at RKO noted for her skills at breaking this kind of material down into script continuity form, who was readying it for the stenographic and various production departments.1 · 1. John Houseman, Run-Through: A Memoir , pp. 445-61. "Raising Kane," pp. 29-39. Amalia Kent had impressed Welles with her work on the problematic first-person script for his unproduced Heart of Darkness film, and she worked directly with him on various script supervision capacities on other of his RKO projects, including The Magnificent Ambersons and the unproduced Smiler with the Knife. She also continued as the script supervisor throughout the shooting of Citizen Kane and prepared the cutting reports for the film's editor, Robert Wise. Kael gives the impression that Rita Alexander, Herman Mankiewicz's private secretary, was performing all these specialized studio functions herself. Robert L. Carringer is associate professor of English and cinema studies at the University of Illinois at Urbana-Champaign and the author of Ernst Lubitsch. His forthcoming edition of The Jazz Singer will begin the Warner Brothers script series. "Citizen Kane, The Great Gatsby, and Some Conventions of American Narrative," his previous contribution to Critical Inquiry, appeared in the Winter 1975 issue. (shrink)

First published in Great Britain in 1968, this is an authoritative introduction to the life of one of the greatest intellectual figures of the twentieth century. Prompted by the belief that none of the parts of Sartre’s work is fully intelligible apart from the whole , this ambitious volume attempts to provide a synoptic view of Sartre’s oeuvre in its entirety. The editor, Robert Denoon Cumming, has organised the work around certain concepts which are central to Sartrian thought, notably (...) Consciousness in its relation to Being, to ‘the Other’, to Art, Literature, History and Society. The reader can see for himself how Sartre’s aesthetic and highly individual existentialism of La Nausée is systematically transformed into the neo-Marxist sociological theory of his Critique de la Raison dialectique . By a skilful process of editing, Professor Cumming has provided an authoritative introduction to the life of one of the greatest intellectual figures of modern times. (shrink)

The reductive nature of Kincaid's undertaking comes into sharper focus when we compare his kind of critical inquiry with that, say, of [Sheldon] Sacks or [Ralph] Rader. Kincaid concludes where they begin. For Sacks, the identification of some type, such as satire, is what initiates the critical process. What then remains is to move beyond type, which exists at the highest level of generality, to form and finally to those detailed analyses which will account for the peculiar powers of unique (...) works. His types, as he says, are "only elementary distinctions," and he adds that "at some point in an adequate criticism of a single literary work, we will inevitably be discussing those variations which distinguish a particular literary work from all other literary works of its class, even if that class has been defined according to the most subtle and intricate combination of variables possible."1 Similarly for Rader, our intuitions about formal principles and intentions are but first steps in critical inquiry. "My theory, " he says, "attempts not to establish 'general laws' . . . but to render explicit the structural features of our tacit experiences of literature in a way that will allow us to bring all its implications to bear simultaneously upon our explanation of any particular literary work."2 Such procedures as these, which are designed to give us particular knowledge, are ruled out by Kincaid's program, the most specific formal principle of which is something quite general: the competition among narrative patterns. There is finally, then, very little knowledge to be shared, for our inquiries will always arrive at the same conclusion. Although readers, in his view, can intend one thing rather than another, writers cannot, and this assumption that agents are somehow set apart from the other members of the species means, I suspect, that Kincaid is right about one thing: his effort to mediate does indeed place him in a "no-man's land." · 1. Sheldon Sacks, Fiction and the Shape of Belief , pp. 25-26 n.· 2. Rader, "Explaining Our Literary Understanding," Critical Inquiry 1 : 905. Robert Denham, editor of Northrop Frye: An Enumerative Bibliography and the forthcoming Northrop Frye on Culture and Literature , is associate professor and chairman of the department of English at Emory and Henry College. In this essay Robert Denham replies to James R. Kincaid's "Coherent Readers, Incoherent Texts" Critical inquiry, Summer 1977. (shrink)

This was the best-selling poetry anthology of the eighteenth century, edited by the most celebrated publisher of the era, Alexander Pope's protege, Robert Dodsley. It includes poems by Samuel Johnson, Thomas Gray, David Garrick, Lady Mary Wortley Montague, Horace Walpole, Joseph and Thomas Warton, James Thomson, Elizabeth Carter, Pope himself, and many others. The Collection of Poems is an invaluable index of literary culture in the eighteenth century, and yet despite its great popularity and influence, it has not been (...) in print for more than two hundred years. (shrink)

Not by Genes Alone excellently explains Peter J. Richerson and Robert Boyd's important ideas about human gene-culture co-evolution to a broader audience but remains short of a larger vision of civilization. Several decades ago Ralph Burhoe had seen that fertile possibility in Richerson and Boyd's work. I suggest getting past present reductionistic customs to a scientific perspective having an integral place for virtue. Subsystem agency is part of this view, as is the driving role of abundance, whose ultimate origins (...) are in the mysterious, quintessentially energetic Big Bang. The free-rider problem may not impede higher social organization as inexorably as Richerson and Boyd believe; "the tragedy" of enervating leakage from "the commons" may often be less influential than an invigorating flow of externalities to the commons. Eukaryotic origins mark the origin of inevitable wider sharing as higher living systems evolve. I use a metaphor of flesh and spirit in drawing a parallel between that turning point and the wide sharing that occurs in civilization. This helps solve the enigma of the demographic transition. Why do so many productive participants in first-world societies severely restrict their selfish-gene reproduction to below replacement birth rate? It is not because culture is maladaptive but because civilization's brain and womb have become partially differentiated in distinct populations. Considerations of social boundaries, myths of sacrifice, and human creativity help in understanding how human social evolution taps potentials present in reality. Human beings' diverse vigorous activities—the organized ones and the inadvertent ones, the wise and the foolish, the good and the bad, the carefully thoughtful and the merely playful—provide the ground of being, or primordial soup, for cultural entities that transcend our intentions. If we have it right for the most part and are fortunate, we will continue to emerge at higher levels. (shrink)

It is widely recognized that Immanuel Kant was one of Karl Barth's most important intellectual influences, but how and to what extent this is the case remains an open question. In Presupposing God, Robert Hand demonstrates a deep consistency between Kant's and Barth's theological epistemologies, with this issue in mind. After arguing for a number of positive emphases in Kant's critical philosophy and religious epistemology in conversation with modern Kant scholarship, Presupposing God demonstrates how these emphases were obscured in (...) Kant's reception in the decades between Kant and Barth, and then explores the intellectual conditions under which Barth first encountered Kant. The argument proceeds to show how Barth wrestled with these varying interpretations and continued to utilize Kant with increased sophistication as his thought developed across the Romans commentaries, Anselm, and the Church Dogmatics. Presupposing God suggests that Kant can be an asset to theology, rather than the liability he is often taken to be, and that Barth is one of the better available examples of this in practice. (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)

Wit, it can be said, is the compact expression of wisdom. Robert S. Hartman wrote with both wit and wisdom. Many times, though, his wit gets buried in demanding and lengthy prose. In this book, we have extracted the wit from the wisdom of a selection of Hartman's writing so that more of the world can learn from this man's genius. It's a quote book. It consists entirely of Hartman's own words. But, in small doses. We have pulled vital (...) ideas, thoughtful considerations, and clever remarks from six of Hartman's published pieces plus two heretofore unpublished manuscripts that are soon to be published by the Hartman Institute. We present these quotes in an order that, we believe, best tells the story of formal axiology. (shrink)

So far my examples have illustrated purely descriptive and evaluative uses of "work of art," but my main claim is that most uses are not pure. Take a controversial example. Christo recently hung a huge, bright orange curtain between the sides of a canyon in Rifle Gap, Colorado. The curtain stretched all the way across the canyon, filled the canyon from top to bottom, and had a hole cut out for the road at the base of the canyon to pass (...) through. There was a good deal of controversy in Colorado at the time about whether the curtain was a work of art. . . . First, the curtain was not in a traditional medium, and this alone was enough to disqualify it as a work of art for some people. Still, it was an artifact, it was intended for public observation and contemplation, and it had no essential utilitarian function. That it met these criteria there could be no doubt, and this was enough for some to consider it a work of art. Others, however, required more before deciding. Of those, some said that a great deal of skill was required to produce it; that it definitely had significant formal qualities—especially the dramatic contrast in line and color between it and the completely natural surroundings; that it was certainly a creative endeavor; and that it was most conducive to aesthetic experience—comparable to certain natural phenomena. For these people it was, without a doubt, a work of art for both descriptive and evaluative reasons. Others, however, were much less charitable. They thought that if the production required skill at all, it was engineering not artistic skill; that not only did it not have significant formal qualities, it was formally trivial and sterile; that perhaps it was novel, but to call it creative was beyond the pale; that far from being conducive to aesthetic experience, it was a blight upon the landscape. Therefore, it was not a work of art. Finally, there were those people who were not sure which characteristics to attribute to the Christo production and were therefore uncertain whether it was a work of art. Robert McGregor is an associate professor of philosophy at the University of Denver and is the author of several articles on aesthetics. See also: "Christo's Gates and Gilo's Wall" by W. J. T. Mitchell in Vol. 32, No. 4. (shrink)

Certain general ideas come up repeatedly, in various guises, when contemporary poetry is discussed. One of these might be described as the question of what, if anything, is our social responsibility as poets.That is, there are things writers owe the art of poetry—work, perhaps. And in a sense there are things writers owe themselves—emotional truthfulness, attention toward one’s own feelings. But what, if anything, can a poet be said to owe other people in general, considered as a community? For what (...) is the poet answerable? This is a more immediate—though more limited—way of putting the question than such familiar terms as “political poetry.”Another recurring topic is what might be called Poetry Gloom. I mean that sourness and kvetching that sometimes come into our feelings about our art: the mysterious disaffections, the querulous doubts, the dispirited mood in which we ask ourselves, has contemporary poetry gone downhill, does anyone at all read it, has poetry become a mere hobby, do only one’s friends do it well, and so forth. This matter often comes up in the form of questions about the “popularity” or “audience” of poetry.Possibly the appetite for poetry really was greater in the good old days, in other societies. After the total disaster at Syracuse, when the Athenians, their great imperialist adventure failed, were being massacred, or branded as slaves with the image of a horse burned into the forehead, a few were saved for the sake of Euripides, whose work, it seems, was well thought of by the Syracusans. “Many of the captives who got safe back to Athens,” writes Plutarch,Are said, after they reached home, to have gone and made their acknowledgments to Euripides, relating how some of them had been released from their slavery by teaching what they could remember of his poems and others, when straggling after the fight, had been relieved with meat and drink for repeating some of his lyrics. Robert Pinsky teaches at the University of California, Berkeley. His most recent book of poems, History of My Heart, was awarded the William Carlos Williams Prize. His other books include Sadness and Happiness, An Explanation of America, and a volume of criticism, The Situation of Poetry. Mindwheel, his narrative entertainment for computer, has been issued by Brøderbund Software. (shrink)

To talk about the sociology of literary representation is, first and foremost, to propose to historicize representational activity at that crucial point where its social and linguistic dimensions intersect.1 The troublesome incongruity between these two dimensions need not be minimized, but it can be grappled with as soon as the presuppositions of either the hegemony of the subject or that of language itself are questioned. In this view, the position of George Lukács tends to ignore the state of extreme vulnerability (...) and recurrent jeopardy in which representation has always found itself, just as Michel Foucault’s diametrically opposed view of the ultimate hegemony of discourse obliterates or displaces a lot of unbroken contemporary representational practice. Even more important, both these quite different approaches may be said to appear monistic in that the gaps and links between what is representing what is represented are viewed either in terms of closure and continuity or in terms of rupture and discontinuity. But as I shall proceed to glance at some representational strategies in the late modern period, the question needs to be faced whether it is not precisely in these gaps and links, and in the way in which, simultaneously, the gaps are closed and the links are broken up, that historical activity can be seen to assert itself.If the contradiction of system and event, of predetermination and performance can be seen to affect representational activity, and if this contradiction can at all be formulated in terms of a sociological Erkenntnisinteresse, issue of historicity must be discussed on more than one level: not only on the level of what is represented but also on the level of rupture between them as well as their interdependence) together and to attempt to interconnect the semiotic problematic of signification and the extratextual dimension of representativeness, as involving changeful relations of writing, reading, social reproduction, and political power. In this view, the use of signs, although never quite reducible to a referential function, must be reconsidered and this question needs to be asked: under which conditions and in which respects would it be possible to talk of sociology in that area of instability itself which marks the relations between signifier and signified, between the author’s language and the reader’s meaning? Robert Weimann is professor of English and American literature at the Zentralinstitut für Literaturgeschichte, Akademie der Künste, Berlin DDR. His books in English include Shakespeare and the Popular Tradition in Theater and Structure and Society in Literary History. His most recent book-length study in German is Shakespeare und die Macht der Mimesis: Repräsentation und Autorität im Elisabethanischen Theater. (shrink)

This edition of a recently discovered manuscript provides the first full look at Hegel's Philosophy of Subjective Spirit. The lectures of 1827 go far beyond Hegel's previously published Encyclopedia outline, and provide a new introduction to the Philosophy of Spirit. Robert Williams's translation will stimulate interest in a neglected area in Hegel scholarship, but one to which Hegel himself attached special importance and significance.

_Minds and Bodies_ is a clear introduction to the mind-body problem. It requires no prior philosophical knowledge and is ideally suited to newcomers to philosophy and philosophy of mind. Robert Wilkinson carefully introduces the fundamental components of the philosophy of mind: Descartes's dualist account of mind and body; monist views including eliminativism; computer science and artificial intelligence. Each chapter is linked to a reading from key thinkers in the field, from Descartes to Paul Churchland.

"Among the foremost Catholic philosophers of his generation. He has utilized the fullness of the Catholic intellectual tradition to brilliantly take the measure of modern philosophical thought... This volume is an expression of Robert Wood's singular philosophical outlook." -Jude Dougherty, dean emeritus, school of philosophy, The Catholic University of America.

An intensely personal meditation on the nature of America by a White Philosopher who joined a Black Studies Department and found his understanding of the world transformed by the experience. (Literary Collections).

This essay argues for a distinction between bioethics in the customary sense and the “bioethical”—where the latter involves exploration of disturbing literary and/or artistic material. The “bioethical” signifies an affective and imaginative sphere in which we experience the mattering-to-us-morally of other human beings and non-human animals. The essay further argues that Cormac McCarthy’s writings allow us to explore the bioethical, with certain philosophical implications of this discussed in detail.