For a serious book of philosophy, where better to begin to canvass various philosophical concepts and arguments than in relation to what is so familiar to every one of us –– the fact that we all have many and varied beliefs. The book is an introduction of philosophy, indeed intended as an introductory textbook. The author, as he wrote it, had both the teacher and the student in mind. He hopes it will prove a worthy contribution in the college, seminary (...) and university classroom, both interesting and serious. As well as thirteen clearly written chapters introducing the various topics, it is also provided with helpful summaries, tutorials, and work sheets. In considering belief we raise raises many of the central problems philosophers have discussed: knowledge, truth, justification, rationality, meaning, explanation, self deception, interpretation, reality, cause and effect, personal identity, theories, laws, hypotheses, the self, survival, God. Since belief is a universal phenomenon, it has unfortunately become common to understand the unqualified term ‘believer’ of the religious person. It seems strange to ask the question, ‘Are you a believer?’ outside the religious context. But we do when we are thinking of a particular theory or ideology or political attitude. We sometimes want to know whether she is ‘one of us!’ The author sometimes finds it convenient to illustrate his exposition by referring to religious beliefs. One does not have to be a religious believer to see that it is relevant and indeed interesting to do so. The history of philosophy provides many classical examples of such discussion. The book is of wide general interest. As well as doing service in the classroom, it will also prove its worth within other contexts. It will serve the aims of serious discussion groups, as well as providing a basis for regular and earnest individual study. We hope also that it will find a place with inquiring people of religious faith. (shrink)

This book offers a unique account of the role imagination plays in advancing the course of freedom's actualization. It draws on Paul Ricoeur's philosophical anthropology of the capable human being as the staging ground for an extended inquiry into the challenges of making freedom a reality within the history of humankind. This book locates the abilities we exercise as capable human beings at the heart of a sustained analysis and reflection on the place of the idea of justice in a (...) hermeneutics for which every expectation regarding rights, liberties, and opportunities must be a hope for humanity as a whole. The vision of a reconciled humanity that for Ricoeur figures in a philosophy of the will provides an initial touchstone for a hermeneutics of liberation rooted in a philosophical anthropology for which the pathétique of human misery is its non- or pre-philosophical source. By setting the idea of the humanity in each of us against the backdrop of the necessity of preserving the tension between the space of our experiences and the horizons of our expectations, the book identifies the ethical and political dimensions of the idea of justice's federating force with the imperative of respect. Paul Ricoeur's Philosophical Anthropology as Hermeneutics of Liberation will be of interest to scholars and advanced students working in hermeneutics, phenomenology, ethics, political theory, and aesthetics. (shrink)

The point of departure for all discussions of nonstatistical explanation in the philosophy of science has been the deductive‐nomological or covering law model of explanation that was given its most influential exposition by Carl Hempel, who was also the pioneering figure in the discussion of statistical explanation (see statistical explanation). On this account, to explain a particular event, we cite other particular events together with a general law or laws which "cover" what we want to explain. For example, we might (...) explain why a balloon expanded when placed on a radiator, by citing the fact that the radiator was hot together with the relevant laws relating heat to expansion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Criticism, Imagination, and the Subjectivization of AestheticsRoger W. H. SavageThe growing discontent with reductivist practices signals a new current in contemporary criticism's understanding of music, literature and art. George Levine's unease with critics who are unable or unwilling to account for their continuing preoccupation with literary texts they expose as "imperialist, sexist, homophobic and racist" illumines the contradiction fueling the reduction of aesthetics to ideology.1 Cultural studies that deploy (...) literature as evidence of the aesthetics' socio-historical substance mask literature's capacity to break open new perspectives on reality by assuming that literary works are politically complicit with the aesthetics' strategic "mystification of the status quo" (A&I, p. 3). Criticism's indifference to its philosophical presuppositions exacerbates the paradox of denouncing a body of works that constitute criticism's aesthetic and intellectual heritage. According to Mario Valdés, literary studies' coming of age mandates that criticism take account of a tradition nurtured by a succession of philosophers including Hans-Georg Gadamer and Paul Ricoeur.2 For Valdés, the post-structuralist realization that literary texts are indeterminate and inexhaustible prohibits replacing the work of art with critical commentaries on it; criticism's collective and determining role belongs to a shared community of commentary whose history and thought is a record of the changing interpretations and understandings of literary texts' meanings. [End Page 164]Valdés's claim extends to the field of contemporary music criticism, where the fashion of denouncing aesthetics as socially pernicious turns against traditional musicology's institutional authority. By demystifying absolute music (instrumental music devoid of programmatic associations), a self-proclaimed critical musicology revolts against traditional musicology's perceived political and ideological agenda. Critical musicology militates against the aesthetic conceit that absolute music transcends its social construction. Yet, by overlooking the philosophical presuppositions that set music's autonomy against practical affairs, new musicology accedes to the schema it recoils against.The tradition nurtured by Gadamer's philosophical hermeneutics and Ricoeur's hermeneutic phenomenology represents a critical current whose significance has been overshadowed by postmodernist investments in decoding music's social and political content. Gadamer's critique of the subjectivization of aesthetics and Ricoeur's meditations on the imagination's capacity for invention offer an alternativeto contemporary music criticism's reaction against the principle of music's aesthetic autonomy. Gadamer and Ricoeur question art's formal separation from reality, which belongs to the history of Kant's radical subjectivization of aesthetics. Gadamer's critique of art's aesthetic differentiation prepares the ground for revealing how socially informed analyses conform to the schema Kant initiates by divorcing judgments of taste from their surrounding cultural ethos. Gadamer argues that, by discrediting theoretical knowledge that does not rely on the methodology of the natural sciences, the transcendental function Kant ascribes to aesthetic judgment lays the foundation for differentiating between art's aesthetic constitution and a concept of truth that accommodates the standard of the natural sciences. Through reducing the "sensus communis to a subjective principle," Kant legitimates his critique of aesthetic judgments by denying taste any importanceas a mode of knowledge.3Ricoeur's hermeneutical reflections on imagination complement Gadamer's critique of a differentiating consciousness that abstracts art works from their cultural worlds. For Ricoeur, imagination is productive when the fictions that works create affect our understanding of ourselves and our world by re-describing reality. Aesthetics' alignment with ideology encounters a limit in the power works evince by unfolding different ways of seeing or hearing reality. Ricoeur's reflections on imagination stand in stark contrast to the idea that individual works represent a form of cultural capital in the struggle for social position [End Page 165] and power. Contemporary critical practices' failure to account for the philosophical separation of judgments of taste from knowledge of reality precipitates the impasse criticism encounters when it identifies aesthetics with ideology at the expense of a work's capacity to affect reality in productive ways. The dispersal and potential disappearance of music's aesthetic character into the recesses of cultural and political analysis keeps step with the conceptual narrowing imposed by a restrictive sociological critique. Demystifying music's ideological representations of gender, race and identity purges romantic... (shrink)

The general pattern of Christian children’s ministry has been for adults to deliver structured programs to children. Drawing on the biblical imperative of hospitable space, a more profound understanding is to provide bounded opportunities for children themselves to engage in missional ministry. Implications are suggested for local church ministry and Christian parenting.

Almost all the existing modern systems of Ethics deal with formal definitions, and at bottom repeat more or less the same thing about them in slightly different words. In this work these are a side issue, and therefore are treated briefly. Their treatment in Section I is based upon the author's theoretical works the Theory of Order and the Theory of Reality, but will be intelligible to those who are not acquainted with those works. The chief concern is moral teaching (...) - that is, the practical element. (shrink)

The National Anti-Vivisection Hospital opened to patients in 1903, the only district hospital in London not financed by state-controlled funds, which refused it support because of its principles. For three decades the hospital treated the local poor and conscientious objectors to vivisection, who were assured that staff pledged not to experiment on animals or patients. After an overambitious building program, the hospital ran into financial difficulties, and the King’s Fund refused to help unless all references to antivivisection were removed from (...) its statutes. Thus it reopened as Battersea General in 1935, continuing to serve the borough until 1972. (shrink)