This volume is a collection of S.K. Chakraborty's papers on the east-west distinction in worldviews. The essays are reflective and deliberate upon philosophical diferences and attitudes of thinkers that have shaped the behavior of the common man, both in and out of the workplace.

Мета. Стаття являє собою філософсько-антропологічну репрезентацію ідеї духовності в трилогії "Фундація" американського письменника-фантаста, філософа, популяризатора науки Айзека Азімова. Теоретичний базис. Дослідження базується на розумінні світоглядних імперативів творчості А. Азімова, які висвітлюють його філософсько-антропологічне бачення духовності як історично усталеної властивості раціонально організованого суспільства і ключову умову його прогресивної еволюції. Емерджентність, стохастичність і евентуальність розвитку сучасного глобального соціуму виводить зміст філософсько-антропологічних ідей А. Азімова на принципово новий рівень розуміння подальшого розвитку людства. Артикуляція А. Азімовим ідеї духовності в трилогії "Фундація" дозволяє визначити філософсько-антропологічну (...) концепцію письменника у всій повноті її соціального, філософського, екзистенціального та аксіологічного вимірів. Наукова новизна. Автори обґрунтували доцільність та актуальність розгляду ідеї духовності в трилогії А. Азімова "Фундація" в смисловому полі філософської антропології. Показано, що філософська антропологія А. Азімова має чітко виражене телеологічне "навантаження". В інтерпретації письменника людина майбутнього – це не "постлюдина" зі зміненою за допомогою спеціальних технологій біологічною природою, а людина, орієнтована на духовний розвиток і самовдосконалення, що базуються на одвічних цінностях, зафіксованих у ментальному коді Homo sapiens – щасті, любові, свободі, гідності, незалежності, патріотизмі. Висновки. "Фундація" – твір багатоплановий, сюжетно насичений, композиційно мозаїчний, поліфонічний, у якому, на перший погляд, важко визначити якусь домінантну ідею. У процесі дослідження встановлено, що в творчості А. Азімова одним із основних змістових центрів є філософсько-антропологічний дискурс, у просторі якого значну увагу приділено духовності людини. (shrink)

THIS ESSAY DEALS WITH D F NORTON’S INTERPRETATION OF HUME’S METHODOLOGY IN THE LATTER’S FAMOUS DISCUSSION OF MIRACLES IN THE FIRST INQUIRY. NORTON CONSTRUES "EXPERIENCE" TO MEAN PERSONAL, INDIVIDUAL EXPERIENCE. THE AUTHOR SHOWS THAT THERE IS ANOTHER SENSE OF THE WORD WHICH IS MORE COSMOPOLITAN AND ONE WHICH SQUARES MORE WITH THE USES OF EVIDENCE FOUND IN THE "HISTORY OF ENGLAND". ALTERNATIVE INTERPRETATIONS OF THE HUME PASSAGE ARE GIVEN AND HUME’S METHOD IS COMPARED WITH R G COLLINGWOOD’S IMAGINATIVE RECONSTRUCTIONIST IDEA (...) OF HISTORY. (shrink)

What are the historical origins of aesthetic education? One of these comes from the eighteenth century. This became an important theme in a novel of the time. Published in 1761, Jean-Jacques Rousseau’s Julie, or the New Heloise: Letters of Two Lovers Who Live in a Small Town at the Foot of the Alps1 was an instant success in eighteenth-century Europe. Widely read, the novel made European culture self-conscious and forced it to pay attention to aspects of living that had gone (...) unnoticed or underappreciated, including taste and food.2 These aspects—taste and food—become concrete manifestations of aesthetic education. Through the voices of Julie and her tutor-turned-lover Saint Preux, they provide a lively critique of.. (shrink)

Written from the perspective of philosophy of liberation, this essay holds that the reform of basic human relationships and their cultural instantiation(s) is central to all serious societal change. The essay analyzes naive, mythological, and critical consciousness. It examines how these modes of consciousness are embodied in the health delivery system and then describes areas where practitioners and patients of critical consciousness might work for greater humanization of health care.

Jean-François Revel is the first philosopher to take food seriously and to offer a topology for food practices. He draws a distinction between different kinds of cuisine -- popular (regional) cuisine and erudite (professional) cuisine. With this distinction, he traces the evolution of food practices from the ancient Greeks and Romans, down through the Middle Ages, and into the Renaissance and the Modern Period. His contribution has been acknowledged by Deane Curtin who offers an interpretation of Revel’s conceptual scheme along (...) Platonic lines. In this essay the author reviews Curtin’s interpretation, finds it wanting in certain respects, and develops an alternative reading of Revel along Hegelian lines. This interpretation, the author believes, does greater justice to Revel’s topology for food practices. (shrink)

An interpretation of Aristotle's modal syllogistic is proposed which is intuitively graspable, if only formally correst. The individuals to which a term applies, and possibly-applies, are supposed to be determined in a uniform way by the set of individuals to which the term necessarily-applies.

The persons who adapt to changes as may be necessary in the course of their existence not only survive in the struggle for existence but also thrive and enjoy their lives in the best possible way under the given circumstances. For, life consists in various relationships, which are in constant movement and change.Therefore dealing with change or change-management has got pivotal importance in all walks of humans’ lives. In order to facilitate smooth change all big and small inheritances have to (...) be shed off. Adaptation to change involves some amount of give and take. Before stepping into new shoes one has to remove old ones. Sticking to good or bad things of the past in some cases spoils the present. One should, therefore, be in a position to come out of the situation of status quoor inertia. In some cases our ego does not allow us to change. It forces us to remain in the state that we have been enjoying hitherto. If we are untouched by sense of exuberance and live a life of simplicity, we can break the fetters of ego. The crux of the problem lies in affecting the change of attitude towards the present state of affairs and performance of corresponding duty. The persons should realize that change in power, position, strength etc. is inevitable. So,they should be mentally and physically prepared for it. This can be conveniently achieved by developing adaptability to and management of change. (shrink)

Different analyses of two-wrongs reasoning are presented and provide relief for the Groarke, Tindale, and Fisher analysis which is suggestive of the origin of this type of reasoning in Bentham and Mill. Aquinas's doctrine of double effect is entertained as a possible counterexample (which it is not). Two-wrongs reasoning can be either acceptable (reasonable) or unacceptable, and there are conditions that can be laid down for both situations in discourse. A negative version of the utilitarian principle assists us in understanding (...) two-wrongs reasoning in moral contexts. (shrink)

The novel Doctor Zhivago has not received the attention it has deserved lately—even much less for its philosophical ideas—so in this essay I want to bring attention to Boris Pasternak's notion of the nature of consciousness, which I find quite interesting. Yurii Zhivago, one of the principal characters in Doctor Zhivago, says the following about the experience of death: Will you [Anna Ivanovona] feel pain? Do the tissues feel their disintegration? In other words, what will happen to your consciousness? But (...) what is consciousness? Let's see. A conscious attempt to fall asleep is sure to produce insomnia, to try to... (shrink)

We show that the join of two classical [respectively, regular, normal] modal logics employing distinct modal operators is a conservative extension of each of them.

The phrase “the end of art” has a long association with Arthur C. Danto.1 Indeed, Danto popularized the idea and offered an explanation of this puzzling notion. How could there have been an end of art when it has robustly continued? For this question to make sense, the meaning of “end” is not in the sense of termination, finality, or death in a literal, physical sense. So in 1912 when Marius de Zayas pronounced “art is dead,” he must have thought (...) the historical circumstances warranted it and found the metaphor illuminating: “[Art’s] present movements are not at all indications of vitality; they are not even the convulsions of agony prior to death; they are the mechanical reflex actions of a corpse.”2 In less .. (shrink)