This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This Is A New Release Of The Original 1907 Edition.

CONTENTS.--Preface.--I. Our knowledge of God.--II. Sources and growth of the Logos-Christology.--III. Development and permanent value of the Logos-Christology.--IV. The problem of personality.--V. Thought and will.--VI. The problem of sin.

This book presents the foundations of a general theory of algebras. Often called “universal algebra”, this theory provides a common framework for all algebraic systems, including groups, rings, modules, fields, and lattices. Each chapter is replete with useful illustrations and exercises that solidify the reader's understanding. The book begins by developing the main concepts and working tools of algebras and lattices, and continues with examples of classical algebraic systems like groups, semigroups, monoids, and categories. The essence of the book lies (...) in Chapter 4, which provides not only basic concepts and results of general algebra, but also the perspectives and intuitions shared by practitioners of the field. The book finishes with a study of possible uniqueness of factorizations of an algebra into a direct product of directly indecomposable algebras. There is enough material in this text for a two semester course sequence, but a one semester course could also focus primarily on Chapter 4, with additional topics selected from throughout the text. (shrink)

Academic freedom and tenure, both cherished institutions of higher education, are currently under attack by many both outside and within the academy. Richard DeGeorge argues that they can be defended on ethical grounds only if they are joined with appropriate accountability, publicly articulated and defended standards, and conscientious enforcement of these standards by academic institutions and the members of the academic community.

Dictionary entry discussing the main moral and meta-ethical doctrines found in the works of James Griffin.

Freedom and the Rule of Law takes a critical look at the historical beginnings of law in the United States, and how that history has influenced current trends regarding law and freedom. Anthony Peacock has compiled articles that examine the relationship between freedom and the rule of law in America. The rule of law is fundamental to all liberal constitutional regimes whose political orders recognize the equal natural rights of all.

The study at hand critically approaches tendencies of routine and sluggishness in the recent reception of Walter Benjamin’s writings, highlighting and explaining apologetic interpretations in studies which limit themselves to explain the internal logic of Benjamin’s concepts. To that end, it first casts a glance at the debate on how to faithfully translate these concepts. In a second step, it scrutinizes contributors to subaltern studies who use elements of Benjamin’s “pre-history of modernity” in their attempt to uncover historical differences (...) in the process of globalization. To examine their strategies, the present article draws on Latin American perspectives on Benjamin and their attempts to globalize and de-colonize his work. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Which Henry James Strikes BedrockRalph M. BerryIn Stanley Cavell’s account of Wittgenstein’s later philosophy, everything we know depends upon what Wittgenstein calls grammatical criteria. These criteria are what we go on when judging that something counts as an instance of our concept of a “chair,” “ardent love,” “headache,” etc. For the arts, Wittgenstein’s focus on criteria leads in two, apparently opposite, directions. First, by making the activity of (...) judging constitutive for language and culture, Wittgenstein makes aesthetics (or what is traditionally called aesthetics) a model for all philosophical activity. Determining the basis on which a phenomenon will count as an instance of any concept turns out to involve capacities that formerly seemed relevant only in cases of aesthetic judgment.But Wittgenstein’s focus on criteria also works against this centrality of aesthetics, for it makes an exceptional or limiting case of the art contemporary with Wittgenstein. According to Cavell, what modernist art reveals is that judging what counts as a novel, painting, sculpture, etc., is no longer determined by grammatical criteria, or none to which we have access as we do our criteria for “chair,” “ardent love,” “headache,” etc. This does not mean, or not quite, that nobody knows any longer what a novel is. It comes closer to meaning that the experience of modern art is of finding out what we know, what our criteria for sculptures, paintings, novels are. And it makes modernism the disclosure of a new artistic necessity: not merely to create a new work, but to create a new basis for work, a new medium for fiction. 1In what follows my aim is to see how this necessity arises. My focus is on a particular period of Henry James’s career, roughly from his review of Eliot’s Middlemarch in 1873 to his essay on Maupassant in 1888, a [End Page 61] period that surrounds his now famous response to Walter Besant in “The Art of Fiction.” I do not insist that this moment in James’s career is a founding moment for modernist fiction. My only insistence is that, whatever conditions do give rise to modernism—either for a whole culture or for an individual—they look like this moment.INear the end of “The Art of Fiction,” Henry James takes issue with Walter Besant (and the critic Andrew Lang) over the use of the word “story.” 2 His stated provocations are, first, that Besant (in his lecture) has distinguished between “a part of a novel which is the story and part of it which... is not” (“AF,” p. 178) and, second, that Besant and Lang (in his review of Besant’s lecture) have made “adventure” a defining feature of any story (p. 179). James’s procedure in the first case is to give examples of “the only [sense of ‘story’] that I see” in which it can be spoken of as different from the novel as a whole. His procedure in the second case is to give examples of what constitutes an adventure “for me” (or what “I should say” is an adventure) and to confess that he is “utterly at a loss to see why” the plot of his own novella “An International Episode” does not count as an adventure if the other examples cited by Lang and Besant do. James gives no reasons why anyone ought to use the words “story” and “adventure” as he does. If we see senses of “story” other than the ones that James sees, if the fact that he is “utterly at a loss” makes no impression on us, or if we just do not care what Henry James considers adventurous, nothing he says seems designed to change our minds. His whole case rests on nothing stronger than the likelihood that, in the circumstances he describes, we too will call or judge or find what he calls/judges/finds “a story,” “an adventure,” “exciting,” etc. If we don’t, of course, we just don’t, but the surprise is how often we do. 3Contrary to what James maintains, the problem with Besant and Lang’s definition of “story” is not that it is “altogether arbitrary” (p. 179... (shrink)

Responding to volatile criticisms frequently leveled at Leo Strauss and those he influenced, the prominent contributors to this volume demonstrate the profound influence that Strauss and his students have exerted on American liberal democracy and contemporary political thought. By stressing the enduring vitality of classic books and by articulating the theoretical and practical flaws of relativism and historicism, the contributors argue that Strauss and the Straussians have identified fundamental crises of modernity and liberal democracy.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 97-103 [Access article in PDF] MoMA as Educator: The Legacy of Alfred H. Barr, Jr. Ralph A. Smith Professor Emeritus University of Illinois at Urbana-Champaign Alfred H. Barr, Jr. and the Intellectual Origins of the Museum of Modern Art by Sybil Gordon Kantor. Cambridge: The MIT Press, 2002, xxv, 472 pp., $39.95. ISBN 0-262-11258-2 Sybil Kantor's history of the intellectual origins (...) of the Museum of Modern Art (MoMA) is an engaging account of Alfred Barr, Jr.'s, pivotal role in acquainting an American audience with the modernist movement in art that had developed in Europe and the Soviet Union in the first part of the twentieth century. Scrupulously documented, Kantor's narrative relies heavily on interviews with Barr's contemporaries, his publications, and his extensive correspondence. She also limns portraits of major figures who either influenced his ideas or were instrumental in establishing MoMA. Although the book is very informative about modern art, according to its author it is not intended to be strictly a history of that art. Rather, it is devoted to Barr's early development, his personal characteristics, his attitude toward the cultural and political climate of the times, his definitions of modernism and formalism, and finally, his legacy.Kantor traces Barr's career through the decade of the 1920s, which culminated in his being named the first director of MoMA in 1929; the expansive years of the 1930s and 1940s when, as Kantor puts it, Barr and the museum were at full throttle; and the later years when Barr was relieved of his director's responsibilities to allow him to spend more time on writing and the mounting of exhibitions. He retired from the museum in 1967, began to show signs of ill health in the mid-1970s, and died at the age of 79 in 1981. The Early Years Barr began his studies in the history of art at Princeton where he took courses with Frank Jewett Mather, who taught about modern art, and with Charles Rufus Morey, a distinguished medievalist whose teaching ranged beyond the architecture and sculpture of the Middle Ages to the other arts of that era. Morey's example of comprehensiveness would later stimulate Barr to think along similar lines about modern art and the organization of MoMA. At Harvard's graduate school Barr learned the skills of connoisseurship and museum management from Paul Sachs whose students went on to become directors of major museums across America. Sachs also encouraged Barr's interest in modern art and provided him with numerous letters of [End Page 97] introduction to scholars and museum directors — and occasionally withfunds for his travels.1 Lincoln Kirstein was a close friend, art critic, and earlyally, while Henry-Russell Hitchcock, Walter Gropius, and Philip Johnson significantly affected Barr's understanding of architecture. A large cast of artists, patrons, collectors, writers, trustees, and editors of "little magazines"(so-called because of their relatively small numbers of readers) also enter the scene and play various roles. A few words are in order about Barr himself who, Kantor says, exhibited more rebelliousness, a larger vision, and greater discipline than most of those around him. Barr the Man Kantor portrays a mind and sensibility possessed of exceptional discernment for the new, the difficult, and the worthwhile in the art of the early twentieth century. Barr's feeling for order, organization, and clarity of relations; his commitment to perfection, freedom, and truth; and his faith in the capacity of modern art to overcome prejudices and improve the taste of Americans are not merely reflections of the disciplinary habits inculcated by Barr's Presbyterian upbringing. They also reveal the classical tastes acquired through his art-historical studies and echo the temper of the age.The time — the 1920s through the 1940s — valued both the rationalism of science with its methods of problem solving and the insights of psychoanalysis with its probing of the irrational. Belief in the inevitable progress promised by advances in technology was, however... (shrink)