In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 535 eluded. Have Straussians proved that there is no higher human knowledge than philosophy? One hopes that they will meet their critics, because Stmussians are deeply serious men and women, and we can all learn from their mentor. Hillsdale, College Hillsdale, Michigan D. T. ASSELIN Philosophical Problems of Classical Film Theory. By NOEL CARROLL. Princeton, N.J.: Princeton University Press, 1988. Pp. 268. This book is a provocative, (...) clearly written, and carefully argued presentation of a philosophical critique of traditional film criticism. If film is taken as a serious art form, one which can stand alongside of music, painting, theatre, and literature, then Carroll's book is a good example of the type of philosophical study that is needed. Assistant professor of philosophy at Wesleyan University, Carroll knows the world of film well and attacks with vigor what he takes to be erroneous in traditional film criticism. His three targets are the film theories of Rudolf Arnheim, Andre Bazin, and V. F. Perkins. It would be difficult to overemphasize the influence of Arnheim and Bazin on the history of the aesthetics of film: each man is a giant in the history of theorizing about film. Though much less influential, Perkins does present an mteresting view of film. Philosophical Problems of Classical Film Theory consists of an introduction, three central chapters, and a conclusion. Each of the three chapters is devoted to one of the film theorists, and each chapter begins with an explanation of the theory being discussed. In trying to present the theory in its strongest form, Carroll includes a detailed discussion of its historical setting, and this makes its contextual importance clear. But most of each chapter is devoted to criticism of the theory iii question. Thinking of film theories as a series of answers to abstract questions, Carroll suggests that Arnheim, Bazin, and Perkins address the same central questions and expect the answers to these questions to be related logically in the same way. Carroll lists three questions that he thinks suggest a similar structure in the three theories he is studying: " What is the determinant or special feature of film? What is the value or role of cinema? What are the processes of articulation in film in relation to the previous two answers? " Concerning the answers to these questions Carroll writes 586 BOOK REVIEWS Most classical film theories-including those of Amheim, Bazin, and Perkins-relate answers to the three basic questions in the following way: the determinant characteristic stands to the role of cinema as a means to an end, while the articulatory processes are assessed as instances of the determinant characteristic of cinema (pp. 14-15). Arnheim represents an early type of film theorizing which Carroll names the silent-film paradigm. Those who embrace this approach, and Carroll would include the Soviet montagists of the twenties such as Sergei Eisenstein, insist that film is not merely a record of reality but rather manipulates reality expressively. Though Arnheim wrote after sound had entered film, he disdained talkies and looked back to silent film to discover the paradigm of film. Carroll's treatment of Arnheim relies on the latter's 1957 Film As Art, which is a condensed version of his 1933 book Film. The 1957 condensation can he considered the authoritative articulation of Arnheim's position. The prejudice against cinema in its early days derived from the fact that a major constituent of film was photography. Many felt that photography could not be an art form because it was merely a copying process. Arnheim's theory can be called creationist because he successfully showed how cinema could be creative in capturing and re-presenting reality. Arnheim showed that film transcends the simple viewpoint that simple recording implies. Carroll summarizes Arnheim's view: In summary, Arnheim holds that one role of filmmaking-the one that concerns him-is art. He also contends that the determinant characteristics of the medium-those relevant to the purpose of art makingare the various ways that the medium diverges from the mechanical duplication of reality, and finally, Arnheim spends the bulk of Film As Art on lengthy examinations of the various modes of cinematic articulalation, in order to demonstrate... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:526 BOOK REVIEWS learned how to integrate satisfaction into love (91, 113, 119, 124, 136, 186, 192, 198; cp. 37). Indeed, it is Aquinas's gradual integration of satisfaction as a motive for the Incarnation subordinate to love (166) that enables Aquinas aptly to locate satisfaction within the Christian life (cp. 47, 136, 142, 166) and accounts for Cessario's subtitle. Third, I am not clear on Ccssario's (or my own!) (...) stand on how we ought sort out the respects in which Thomas's and our perspectives merge (cp. xiv). In his conclusion Cessario is cautious, suggesting that "if the term ' satisfaction ' cannot be restored to current usage, then certainly the substance of Saint Thomas's understanding of satisfaction can and should be." (256). But, given Cessario's own persuasive display of the way satisfactio pervades the very texture of Aquinas's theology, I am not sure we can have the "substance" without the term-or vice-versa. Clearly Cessario thinks the merging is substantive. But he himself teaches us that supporting this claim involves supporting claims for exegetical, liturgical ecclesial, and other practices. Those of us who think that satisfactio is a description rather than "the guiding model or key notion" (xx, my emphasis) for thinking Christ crucified will need to see such support worked out in relation to the competing sotcriologies Cessario mentions (267) as well as ecumenical discussions of justification which were understandably outside the scope of this book (151). But a single book can only accomplish a single thing-and this book clearly succeeds in showing us how Thomas can be brought to bear on contemporary theological issues. All students of Aquinas and/or soteriology ought to read this text. Loyola College in Maryland Baltimore, Maryland JAMES J. BUCKLEY How We Know. Edited by MICHAEr, SHAFTO. San 1!1rancisco: Harper & Row. 1985. Pp. xv and 171. $14.95. How We Know is a collection of six papers delivered in 1984 at the twentieth Nobel Conference, held at Gustavus Adolphus College in St. Peter, Minnesota. Two words that came to my mind as I worked through the papers were "fascinating" and "frightening". The Conference dealt with cognitive science and a number of the authors have come up with interesting, provocative, and often orig'inal observations about how the human mind operates when it hies to remember and to understand. In his Introduction Michael Shafto, who is a Scientific Officer in the Personnel and Training Research Programs of the United States Office of Naval Research, notes that cognitive science as the work of a coalition of thinkers is barely a decade old, and he reminds the reader that the methods BOOK REVIEWS 59.7 of cognitive science are those of experimental psychology, physiology, and computer science. Though the Confermce was supposedly aimed at nonspecialists, the reader unfamiliar with cognitive science might find some of the papers a bit difficult. Certainly the backgrounds of the authors are very impressive. The first four papers in the collection are by Gerald Edelman, Brenda Milner, Roger C. Schank, and Herbert A. Simon respectively. Edelman is the Director and Scientific Chairman of the Neurosciences Research Program at Rockefeller University; Milner is Professor of Psychology in the Department of Neurology at McGill University: Schank is Professor and Chairman of the Computer Science Department at Yale; and Simon is Professor of Computer Science and Psychology at Carnegie-Mellon University. Calling his theory of the hum:m brain "Neural Darwinism," Edelman claims that the brain is Darwinian. Taking Darwin's theory of natural selections and applying it to the brain, Edelman argues that during ontogeny and behavior those groups of neurons are chosen that are adaptive for the organism. Milner explores the neurophysiological basis of that special moment when a new experience affects the brain. Insisting that memory is not merely a passive reproi!ucer but rather actively selective, Milner, relying on her studies of patients. with loss of memory, suggests that the frontal lobes of the brain hnve a special role in memory. Interested in the interface of mcmory anil percr-ption, Schank notes that, because human memory is dynamic and the memory of the computer is not, the -programming of the intelligent functions of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 151 highly conscientious translator, and a sign of this are the Latin-English and English-Latin glossaries that are appended at the end of the work. The glossaries show how he has tried to remain consistent in his choice of terms and how he decided to render difficult terms like ratio and esse, which cause every translator of Aquinas problems. One could complain, however, that these nine pages of (...) glossary are not quite complete enough. A few missing entries, for example, are ' individual ' (which is used to translate concretum, suppositum, individuatum, and particufuris), ' subiectum ' (translated " substance " and " subject "), and' modus'. The briefest of bibliographical notes and an index complete the work. Here one might want to register a more serious complaint. The bibliographical note is much too brief to he especially helpful. The beginner could use some more suggestions about what to read as a follow-up to Martin's hook. All in all, this is a collection of readings from Thomas Aquinas one would like to see stay in print for a long time to come. Many who teach the thought of Aquinas in the round will want to make use of this work. And, by reading this work, philosophy students to whom Aquinas is an unknown will make a good beginning in becoming di· rectly familiar with one of the greatest of minds. ROBERT D. ANDERSON Saint Anselm College Manchester, New Hampshire Being and Order: The Metaphysics of Thomas Aquinas in Historical Perspective. By ANDREW N. WOZNICKI. Catholic Thought from Lublin. New York: Peter Lang, 1990. Pp. 309 + xiv. This first volume bodes well for the new series Catholic Thought from Lublin, because the author of the hook is also the general editor of the series. Father Woznicki has here produced a welcome addition to those worthwhile hooks exploring the philosophical vision of St. Thomas in depth and comparing and contrasting that vision with other philosophical outlooks. Such studies are important not just for Thomists hut for all who are interested in the thought of the Angelic Doctor. On the first page of his Foreword, Woznicki announces that being and order are so inextricably interrelated that it is absolutely impos· sihle to understand one without the other. With thorough scholarship and impressive depth, Woznicki hacks up his claim. The Foreword also includes Etienne Gilson's marvelous statement: "Metaphysics al- 152 BOOK REVIEWS ways buries its undertakers." Not only does Woznicki probe profoundly into St. Thomas's metaphysics but he shows with an enviable clarity what is metaphysically lacking in philosophies as diverse as those of Duns Scotus, William of Ockham, Descartes, Kant, and Whitehead. Woznicki's goal in this well documented study is to discover the order present in the very structure of being as being. In examining the concept of being itself, he claims that being can reveal itself in its inner disposition of both essential and existential characteristics only as something in which essence and existence are related to each other reciprocally and mutually. The Lublin Thomist distinguishes the predicamental and the transcendental modes of predication. While in the predicamental mode of predication a predicate is added to a being as its determining principle, in the transcendental mode of predication nothing can be added to a being as an extraneous nature, in the way that an accident is added to a substance or that a difference is added to a genus. (These additions cannot take place because every nature is essentially being.) The distinction between the two modes of predication permit the formulation of two kinds of concepts, namely, the predicamental and the transcendental. The former describe various grades of being which match different modes of being and so reveal.the various genera of being; the latter in depicting being in its universality express more clearly what is contained in the nature of being as such. A predicamental order of being is established through the predicamental concepts' description of being by its essential characteristics ; a transcendental order of being is established through the transcendental concepts' description of being as expressed by the existential characteristics of esse. While in the predicamental order the emphasis on the essential aspects reveals being as it is expressed in... (shrink)

Discusses the metaphysical themes of Bergman's films, analyzes his major works, and attempts to explain his philosophy.