This book shows the Emersonian arc in environmental ethics and nature writing extending into contemporary discussions of those topics. Dunston connects Emerson’s nature literacy and natural philosophy to contemporary forms of eco-feminism, living systems theory, Native American science, Asian philosophy, and environmental activism.

In this important book, Susan Hurley sheds new light on consciousness by examining its relationships to action from various angles. She assesses the role of agency in the unity of a conscious perspective, and argues that perception and action are more deeply interdependent than we usually assume. A standard view conceives perception as input from world to mind and action as output from mind to world, with the serious business of thought in between. Hurley criticizes this picture, and considers (...) how the interdependence of perceptual experience and agency at the personal level (of mental contents and norms) may emerge from the subpersonal level (of underlying causal processes and complex dynamic feedback systems). Her two-level view has wide implications, for topics that include self-consciousness, the modularity of mind, and the relations of mind to world. The self no longer lurks hidden somewhere between perceptual input and behavioral output, but reappears out in the open, embodied and embedded in its environment. Hurley traces these themes from Kantian and Wittgensteinian arguments through to intriguing recent work in neuropsychology and in dynamic systems approaches to the mind, providing a bridge from mainstream philosophy to work in other disciplines. Consciousness in Action is unique in the range of philosophical and scientific work it draws on, and in the deep criticism it offers of centuries-old habits of thought. (shrink)

This introductory chapter explains the coverage of this book, which is about animal rationality and mental processing in animals. This book discusses the theoretical issues and distinctions that bear on attributions of rationality to animals and draws some contrasts between rationality and certain other traits of animals to determine the relationships between them. It explores the relations between behaviour and the processes that explain behaviour, and the senses in which animal behaviour might be rational in virtue of features other than (...) classical reasoning processes on the human model. -/- . (shrink)

From my Consciousness in Action, ch. 2; see Consciousness in Action for bibligraphy. This chapter revises material from "Kant on Spontaneity and the Myth of the Giving", Proceedings of the Aristotelian Society, 1993-94, pp. 137-164, and "Myth Upon Myth", Proceedings of the Aristotelian Society, 1996, vol. 96, pp. 253-260.

Why does it matter whether and how individuals consciously control their behavior? It matters for many reasons. Here I focus on concerns about social influences of which agents are typically unaware on aggressive behavior.

I ARGUE THAT WE RECEIVE PLEASURE FROM TRAGEDIES BECAUSE WE ARE PLEASED TO FIND OURSELVES RESPONDING IN AN UNPLEASANT WAY TO HUMAN SUFFERING AND INJUSTICE. THE PLEASURE IS THUS A METARESPONSE, AND REFLECTS FEELINGS WHICH ARE AT THE BASIS OF MORALITY. THIS HELPS EXPLAIN WHY TRAGEDY IS SUPPOSED TO BE A HIGHER ART FORM THAN COMEDY, AND PROVIDES A NEW WAY OF SEEING THE RELATIONSHIP BETWEEN THE MORALITY OF AN ARTWORK AND ITS VALUE.

This research study was an interpretive inquiry into the experience of contemporary peacekeepers healing from trauma. Ten contemporary peacekeepers were interviewed who have sought treatment from trauma resulting from deployments to Somalia, Rwanda, and the former Yugoslavia. A thematic analysis of the text was undertaken, in which themes emerged to document and understand the ways in which contemporary peacekeepers heal from trauma. Narratives from the transcribed interviews were reviewed with the participants and reflective journaling by the researcher provided further clarification (...) of the data to understand the experience. The peacekeepers’ descriptions of the situations of their bodies in time, space and relation provided a fresh way into understanding the embodied nature of healing from trauma. Three overarching themes: the centrality of brotherhood and grieving loss in the military family; the centrality of time and the body in healing from trauma; and the military response as betrayal and creating trauma from within emerged from the inquiry which will contribute to more effective practice guidelines for the care of contemporary peacekeepers healing from trauma. (shrink)

Late Tokugawa society and the crisis of community -- Before the Kojikiden : the divine age narrative in Tokugawa Japan -- Motoori Norinaga : discovering Japan -- Ueda Akinari : history and community -- Fujitani Mitsue : the poetics off community -- Tachibana Moribe : cosmology and community -- National literature, intellectual history, and the new Kokugaku -- Conclusion : imagined Japan(s).

Hurley here revives a classical idea about rationality in a modern framework, by developing analogies between the structure of personality and the structure of society in the context of contemporary work in philosophy of mind, ethics, decision theory and social choice theory. The book examines the rationality of decisions and actions, and illustrates the continuity of philosophy of mind on the one hand, and ethics and jurisprudence on the other. A major thesis of the book is that arguments drawn from (...) the philosophy of mind may be used to undermine widely-held subjectivist positions in ethics and politico-economic theory. The work is inspired by the philosophies of Wittgenstein and Davidson, but goes on to connect their arguments about interpretation with formal work in decision theory and social choice theory, and with the theory of adjudication. (shrink)

We all know about the vehicle/content distinction (see Dennett 1991a, Millikan 1991, 1993). We shouldn't confuse properties represented in content with properties of vehicles of content. In particular, we shouldn't confuse the personal and subpersonal levels. The contents of the mental states of subject/agents are at the personal level. Vehicles of content are causally explanatory subpersonal events or processes or states. We shouldn't suppose that the properties of vehicles must be projected into what they represent for subject/agents, or vice versa. (...) This would be to confuse the personal and subpersonal levels. (shrink)

Disneyland is work disguised as play; school disguised as vacation. While Walt Disney’s curriculum deploys across all of its products, it literally engulfs the approximately 50 million ‘guests’ who visit the Disney Parks each year. Drawing on Sarah Ahmed’s phenomenological reading of orientation in Queer phenomenology, this article investigates the ways in which Disney’s didacticism is made material through practices and procedures designed to orient the park’s visitors, to ensure that those visitors always know where they are and who they (...) are, as a means of educating ‘good’ citizens. The argument focuses not on Disneyland’s narrative curriculum but on its corporeal one: visitors are enticed to make affective investments, to construct or reconstruct their identities to comply with the Disney version of the ideal American worker and consumer, as the park attempts to reorient those who resist those roles. (shrink)

Brewer’s Perception and Reason argues, from familiar scenarios of duplicate environments and switching, that a subject’s perceptual experiences must provide reasons for her empirical beliefs. Only perceptual experience can tie reference down to a thing as opposed to its duplicate, and this tying down must be a matter of giving the subject reasons that she can recognize as such. Moreover, such reasons require conceptual contents.

Philosophy of neuroscience may seem an odd thing to do. What can a philosopher add to what neuroscience itself has to say, other than at some very abstract level, far removed from empirical details and the interests of scientists? At some point you take a deep breath, acknowledge the methodological questions, and just go ahead, spurred on by the sheer philosophical interest and excitement abroad in the neurosciences today. So it is very gratifying to a philosopher of neuroscience for such (...) a distinguished neuropsychologist as Marcel Kinsbourne to find added value in the result. (shrink)

This is the text of The Lindley Lecture for 1995, given by Susan Hurley, an American philosopher.

S. L. Hurley's ambitious work brings these two areas of lively debate into overdue contact with each other.

Part 1 reviews the general question of when elimination of an entity orproperty is warranted, as opposed to revision of our view of it. Theconnections of this issue with the distinction between context-drivenand theory-driven accounts of reference and essence are probed.Context-driven accounts tend to be less hospitable to eliminativism thantheory-driven accounts, but this tendency should not be overstated.However, since both types of account give essences explanatory depth,eliminativist claims associated with supposed impossible essences areproblematic on both types of account.Part 2 applies (...) these considerations to responsibility in particular. Theimpossibility of regressive choice or control is explained. It is arguedthat this impossibility does not support the claim that no one is everresponsible on either context-driven or theory-driven accounts of`responsibility''. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beardsley for the Twenty-First CenturySusan L. Feagin (bio)When I was a graduate student in the early 1970s, Nelson Goodman's Languages of Art,1 published originally in 1968, was all the rage, eclipsing Beardsley's monumental Aesthetics: Problems in the Philosophy of Criticism as the most important book in the field at the time. Goodman's book veered decidedly away from aesthetics and toward the philosophy of art; insofar as "the aesthetic" remained, (...) it was explained in cognitive terms. However, Beardsley's Aesthetics continued to provide a valuable resource for those of us who took questions about value and evaluation to be central to the philosophical enterprise, even if we chose to focus on the philosophy of art more or less independently of the aesthetic. Beardsley's functionalist account of aesthetic value is adaptable as a framework for understanding artistic value and evaluation, as is his opposition to (what also seemed to me to be) the too-easy ploy of attributing intrinsic value to our experiences of art. I ended up writing my dissertation on general criteria of criticism—with a chapter devoted to Beardsley's views—arguing that once one employs the notion of artworks having a function, general criteria are not needed to provide a logical connection between a work's good-making or bad-making qualities and its value as a work of art.Nevertheless, Beardsley's instrumentalist view that the value of an artwork resides in its capacity to provide an aesthetic experience contains a major structural problem—what I shall call "Beardsley's dilemma," which he continued to struggle with in his later work.2 The problem lies in the tension between the claim that the value of a work resides in its capacity to evoke an experience having a certain phenomenological quality, and the claim that the properties or qualities of the work are valuable not merely as a means for producing such an experience. [End Page 11]Fifty years on, philosophers of art continue to struggle with this dilemma in various guises. Though the nature of aesthetic experience is still a lively topic of debate, it is just as common to find the evocation of emotions and other affective responses—from Aristotelian pity and fear; to anger and pride and horror; to moods such as sadness and melancholy—touted as among the functions of art.3 In the first section of this essay, I describe why understanding Beardsley's dilemma is important if one takes having emotions and other affective responses to art as part of what is valuable about it. Emotions, after all, are typically alleged to be "in us," not in the object; simply jettisoning the concept of aesthetic experience or aesthetic emotion does not make the dilemma go away. In the second section I distinguish between Beardsley's instrumentalism and a noninstrumentalist version of functionalism as two different models for understanding art's value. Noninstrumentalist functionalism involves the idea that the value of a work lies in the activity of appreciating what is (aesthetically or artistically) valuable about it, rather than in an experience that occurs as a result of perceiving the work. Some exercises involving the evaluation of art and nonart objects—exercises that might usefully be undertaken by students using objects of their own choosing—illustrate how functionalism skirts Beardsley's dilemma and better explicates the nature and locus of the values concerned.I: From Aesthetic Experience to Garden-Variety EmotionsThe view that at least some artworks have as part of their function the production of emotions or other affective responses is a contemporary analogue of Beardsley's instrumentalist view that the function of artworks is to provide an aesthetic experience. The contemporary analogue, however, is not committed to the view that all artworks have, in some abstract sense, the same function but only insists, minimally, that it is at least part of the function of some works of art to produce some variety of emotions and other affective responses. That is, producing emotions may be conceived of as part of the function of a work, and a perceiver's having them as part of appreciating its value.Beardsley's dilemma arises when (at... (shrink)

This article critiques peter van inwagen's application of quinean ontology to the problem of whether fictional entities exist. It is argued that nothing is gained by considering fictional entities to be theoretical entities, And that van inwagen's claim that fictional entities 'hold' rather than 'have' certain properties does not avoid logical difficulties and is inconsistent with his commitment to quinean ontology.

Why is neural activity in a particular area expressed as experience of red rather than green, or as visual experience rather than auditory? Indeed, why does it have any conscious expression at all? These familiar questions indicate the explanatory gap between neural activity and ‘what it’s like’-- qualities of conscious experience. The comparative explanatory gaps, intermodal and intramodal, can be separated from the absolute explanatory gap and associated zombie issues--why does neural activity have any conscious expression at all?. Here I (...) focus on comparative gaps: why is neural activity in a given area expressed as this type of experience rather than that type of experience? (shrink)

The purpose of this article is to discuss an external whistleblowing event that occurred after all internal whistleblowing through the hierarchy of the organization had failed. It is argued that an organization that does not support those that whistle blow because of violation of professional standards is indicative of a failure of organizational ethics. Several ways to build an ethics infrastructure that could reduce the need to resort to external whistleblowing are discussed. A relational ethics approach is presented as a (...) way to eliminate the negative consequences of whistleblowing by fostering an interdependent moral community to address ethical concerns. (shrink)

I argue that it is implausible to think that motives, As distinguished from intentions, Are relevant to literary criticism. The considerations leading to this conclusion offer some insights into the continuing debate over the relevance of artist's intentions to criticism. I also examine briefly why motives are not relevant to aesthetic judgments even though they are (plausibly) relevant to ethical ones. Some views of anscombe on intentions are discussed.