An inviting alternative to traditional texts in introductory logic, The Art of Reasoning is widely acclaimed for its conversational tone and accessible exposition of rigorous logical concepts.

Drawing on Charles Peirce’s descriptions of his correspondence course on the “Art of Reasoning,” I argue that Peirce believed that the study of logic stands at the center of a liberal arts education. However, Peirce’s notion of logic included much more than the traditional accounts of deduction and syllogistic reasoning. He believed that the art of reasoning required a study of both abductive and inductive inference as well the practice of observation and imagination. Employing these other features (...) of logic, his course foreshadowed a number of developments in twentieth century educational theory: the belief that non-traditional students should be educated, the claim that the art of reasoning was important to all theoretical practices, and that the art of reasoning was important to the overall growth of a person. The upshot is that Peirce’s course in the art of reasoning should make us reconsider making logic courses, under Peirce’s broad conception of logic, required courses in high school and higher education. (shrink)

The Swiss psychologist Jean Piaget devoted his life to following, step by step and lovingly, the development in children of the art of reasoning. In the course of the successive stages of this development, the child's view of the world changes in nature. Similarly, from its earliest infancy, medicine has viewed living things in successively different manners. For medicine, it is true, the stages overlap; one may still be using an ancient discourse from which another has daringly freed itself. (...) Nevertheless, for the sake of clarity in this analysis, I will try to define successive epistemological attitudes as if they had represented a regular progression of medical thinking. (shrink)

An introductory logic textbook. The Art of Reasoning, 5e, shows students how logic can be applied to everyday life in each chapter, uses real-world examples to explain core concepts, and includes a new chapter on the cognitive biases and errors students are most likely to encounter in their own thinking.

This book, formed as a series of essays in honour of Professor Carl Baudenbacher, addresses the very art of judicial reasoning, and features contributions from many of the foremost current or former national, supranational, or international judges. This unique volume is intended first and foremost for legal scholars, but its approachable style makes it readily accessible for students and for those with a general interest in the application of the law and justice in today's multi-layered world. The collection of (...) essays is rather more philosophical and reflective as opposed to doctrinal. Each contribution focuses on the nature and operation of justice, the independence of the judiciary, and on judicial style primarily from the perspective of the judges themselves. The book provides perspectives on what it means to be accountable and independent as a judge, the role of language and languages in the quest for justice, while other contributions acquaint readers with the some of the structures of courts themselves, or indeed question for whom judgments are written. Each chapter has been written by a presiding judge, or head of an institution and the book is divided into three parts: - Part I Art and Method - Part II Justice and the Judiciary - Part III Reasoning and Language(s). (shrink)

This sizable, significant work focuses with novel insight on broad logical features in Galileo's Dialogue on the Two Chief World Systems. Part 1 perceptively examines its rhetorical, logical, scientific, and methodological contents. Anchored in these findings, a second part emends faulty interpretations and scholarly opinions, while sympathetically criticizing recent directions toward a more humanistic logic. From Galileo properly assessed a third part distils a concrete-practical logic that is primarily critical reasoning about reasoning.

How do you tell what’s right from what’s wrong? Can you always? What’s the difference between deduction, induction, and abduction? What are the best techniques for making an argument logically sound? In this fascinating little book, the smallest on its subject ever produced, philosopher Earl Fontainelle explores the ancient art of discursive Logic and demonstrates some of the techniques that have long been used to triumph over the debates and deceptions that assail us every day. Filled with helpful examples of (...) good and bad reasoning, Logic is an invaluable introduction to a defining human characteristic. (shrink)

This chapter examines the extent to which there are continuities between the cognitive processes and epistemic practices engaged in by human hunter-gatherers, on the one hand, and those which are distinctive of science, on the other. It deploys anthropological evidence against any form of 'no-continuity' view, drawing especially on the cognitive skills involved in the art of tracking. It also argues against the 'child-as-scientist' accounts put forward by some developmental psychologists, which imply that scientific thinking is present in early infancy (...) and universal amongst humans who have sufficient time and resources to devote to it. In contrast, a modularist kind of 'continuity' account is proposed, according to which the innately channelled architecture of human cognition provides all the materials necessary for basic forms of scientific reasoning in older children and adults, needing only the appropriate sorts of external support, social context, and background beliefs and skills in order for science to begin its advance. (shrink)

This chapter examines the extent to which there are continuities between the cognitive processes and epistemic practices engaged in by human hunter-gatherers, on the one hand, and those which are distinctive of science, on the other. It deploys anthropological evidence against any form of 'no-continuity' view, drawing especially on the cognitive skills involved in the art of tracking. It also argues against the 'child-as-scientist' accounts put forward by some developmental psychologists, which imply that scientific thinking is present in early infancy (...) and universal amongst humans who have sufficient time and resources to devote to it. In contrast, a modularist kind of 'continuity' account is proposed, according to which the innately channelled architecture of human cognition provides all the materials necessary for basic forms of scientific reasoning in older children and adults, needing only the appropriate sorts of external support, social context, and background beliefs and skills in order for science to begin its advance. (shrink)

Renaissance logician, philosopher, humanist, and teacher, Peter Ramus (1515-72) is best known for his attack on Aristotelian logic, his radical pedagogical theories, and his new interpretation for the canon of rhetoric. His work, published in Latin and translated into many languages, has influenced the study of Renaissance literature, rhetoric, education, logic, and--more recently--media studies. Considered the most important work of Walter Ong's career, Ramus, Method, and the Decay of Dialogue is an elegant review of the history of Ramist scholarship and (...) Ramus's quarrels with Aristotle. A key influence on Marshall McLuhan, with whom Ong enjoys the status of honorary guru among technophiles, this challenging study remains the most detailed account of Ramus's method ever published. Out of print for more than a decade, this book--with a new foreword by Adrian Johns--is a canonical text for enthusiasts of media, Renaissance literature, and intellectual history. (shrink)

Argues that Americans must improve their understanding of probability and logic.

"That the art of life is creative, imaginative, and individual does not mean... that it cannot be taught and learned or that individuals cannot improve their mastery of it. Teaching it proceeds by way of exemplary lives, and learning it consists in coming to appreciate what makes some lives exemplary.... That imitation here is impossible does not mean one cannot learn from examples. The question is, How can that be done reasonably; how can decisions about how one should live escape (...) being arbitrary, if they are left to individual creativity and imagination and are not governed by rules that apply to everyone living in a particular context?"—from The Art of Life The art of life, according to John Kekes, consists in living a life of personal and moral excellence. This art requires continuous creative effort, drawing on one's character, circumstances, experiences, and ideals. Since these conditions vary with times and places, Kekes says, there can be no single blueprint for the achievement of excellence. We must do it ourselves—but we can learn from those who have lived exemplary lives. Reflecting on lives of integrity and honor, Kekes formulates what we can learn from them and what we can do to adapt the ideals they represent to our personal circumstances. Avoiding both the abstractness that characterizes much moral thought and the relativism that recognizes no rational or moral limits, Kekes shows how serious philosophical thinking can be readable and helpful to those who struggle with the perennial problems of human existence. (shrink)

International law evolved to end and prevent armed conflict as much as for any other reason. Yet, the law against war appears weaker today than ever in its long history, evidenced by raging armed conflicts in which people are killed, injured, and forcibly displaced. The environment is devastated, and the planet impoverished. These consequences can be traced to the dominant ideology of realism. In 1946, Hersch Lauterpacht challenged that ideology by contrasting it with the idea of international law, composed of (...) natural law, positive law, and process theory. The Art of Law in the International Community revives his vision, rebuilding the understanding of why international law binds, what its norms require, and how courts are the ideal substitutes for war. The secret to the renewal of international law lies in revitalizing the moral foundation of natural law through drawing on aesthetic philosophy and the arts. (shrink)

Any account of knowledge has to take account both of the contribution of the world and the contribution of man. Every human endeavour, every activity, every art, every science is a product of a unique interaction between man and the world. Where man is most passive, he merely reflects and reports the world; this is pure discovery, if it ever exists. Where man is most active, the world's contribution lies merely in the provision of the raw material; this is pure (...) invention, if it ever exists. All the arts, all the sciences can be ordered in a continuous array or spectrum ranging from pure discovery to pure invention. That they are all at some point on this continuum gives them a common but fragile thread, justifying our thinking and talking of the unity of the arts and sciences. Philosophy is neither pure discovery nor pure invention; it bears resemblances to both a science and an art. In this paper I propose to try to give reasons why we should regard the philosopher as an artist and philosophy as an art; or, at any rate, I shall try to show that there is an Art of Philosophy. (shrink)

The art of living idiom suits well a practice-oriented approach in ethics of technology. But what remains or becomes of the functioning and use of reason in ethics? In reaction to the comments by Huijer this reply elaborates in more detail how Foucault’s art of living can be adapted for a critical contemporary ethics of technology. And the aesthetic-political rationality in Foucault’s ethics is compared with Wellner’s suggestions of holding on to the notion of code but with a new meaning. (...) Foucault’s fourfold scheme of subjectivation and a distinction of “below and above reason” structure the argument. (shrink)

The mnemonic arts and the idea of a universal language that would capture the essence of all things were originally associated with cryptology, mysticism, and other occult practices. And it is commonly held that these enigmatic efforts were abandoned with the development of formal logic in the seventeenth century and the beginning of the modern era. In his distinguished book, _Logic and the Art of Memory_ Italian philosopher and historian Paolo Rossi argues that this view is belied by an examination (...) of the history of the idea of a universal language. Based on comprehensive analyses of original texts, Rossi traces the development of this idea from late medieval thinkers such as Ramon Lull through Bruno, Bacon, Descartes, and finally Leibniz in the seventeenth century. The search for a symbolic mode of communication that would be intelligible to everyone was not a mere vestige of magical thinking and occult sciences, but a fundamental component of Renaissance and Enlightenment thought. Seen from this perspective, modern science and combinatorial logic represent not a break from the past but rather its full maturity. Available for the first time in English, this book remains one of the most important contributions to the history of ideas ever written. In addition to his eagerly anticipated translation, Steven Clucas offers a substantial introduction that places this book in the context of other recent works on this fascinating subject. A rich history and valuable sourcebook, _Logic and the Art of Memory_ documents an essential chapter in the development of human reason. (shrink)

Kant and Confucius maintain that the art of becoming human is synonymous with the unending process of becoming moral. According to Kant, I must imagine a world in which the universality of my maxims were possible, while realizing that if such a world existed, then morality would disappear. Morality is an impossible possibility because it always meets resistance in our encounter with nature. According to Confucius, human beings become moral by integrating themselves into the already meaningful natural order that is (...) tian 天. Like Kant, he upholds the dignity of human beings. For Kant this dignity rests on the autonomy of each human being’s reason, while for Confucius it is dependent upon our interconnection with each other, demanding ongoing self-extension. Despite these differences, the two thinkers would concur that our efforts at humanization are unceasing and that we may never fully live up to our human potential. (shrink)

In this analysis of the problem of freedom from a humanistic-Marxist perspective, philosopher Kevin M. Brien draws on the full chronological spectrum of Marx's writings to reconstruct the mature Marx's view of freedom under three broad categories: freedom as a mode of being, freedom as transcendence, and freedom as spontaneity. While recognizing that many students of Marx have noted two distinctly different perspectives in early and late Marx, Brien interprets Marx's philosophy as a coherent organic whole. He demonstrates that Marx's (...) thought is principally and systematically an elaborated philosophical-scientific theory of freedom. New to this second edition is an extended postscript in which Brien provides critical responses to a number of published reviews of the first edition of his book. In addition, Brien also presents a humanistic-Marxist interpretation of spirituality. In so doing he identifies a potential revolutionizing agency in the context of the 21st century. Finally, an addendum shows how humanistic Marxism and Buddhism converge on the same basic values and mutually complement each other. This comparison serves to emphasize the viability of projecting a nontheistic spiritual dimension and shows that there is a genuine moral basis for common social action among adherents of different perspectives. This rigorously argued and deeply thoughtful analysis reveals the continuing relevance and promise of Marx's thought in the 21st century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Art of Teaching in the MuseumRika Burnham (bio) and Elliott Kai-Kee (bio)A class is studying a small painting by Rembrandt in the galleries of the J. Paul Getty Museum in Los Angeles. The museum educator has been inviting the assembled visitors to look ever more closely, guiding the class toward an understanding both of the painting itselfand of our reasons for studying it. The class has been anything (...) but passive—indeed, it has been lively. The painting is The Abduction of Europa (1632), a picture that depicts in delicate detail a story from Greek mythology, the kidnapping of the Phoenician princess Europa by Zeus in the guise of a white bull. The visitors have shared their observations, speculations, ideas. As the class concludes, the museum educator asks the participants to speculate on the painting's larger meaning, to say what they think this work is, finally, about, as revealed by their long discussion. The group's experience has clearly moved beyond the telling of a single story. One participant suggests that Rembrandt's work is about the fearlessness of traveling into the unknown. Another says that it concerns the story of the soul's leaving the earthly for the heavenly realm. When the class comes to an end, people move closer to the painting and continue their discussions.In the same museum, another museum educator is also conducting a group of students through the galleries. He begins with a Roman statue of Venus, followed by an eighteenth-century French terra-cotta bust of Madame Récamier by Joseph Chinard. For each sculpture, he asks the students to focus on only one detail, the hands. The students are encouraged to observe and take note of the sculpted figures' gestures, much as if they were studying a person. Time seems to slow as perception sharpens. The educator listens patiently as the students begin to "read" the sculptures as a whole through the expressiveness of the hands. The group moves on to a mysterious portrait by Millet in which the students discuss the nature of love, and [End Page 65] then to a painting of a Russian princess by Winterhalter, in which the artifice of all the details is suddenly theatrical, dazzling, and delightful. At the end, no one wants to leave.As museum educators we teach in many kinds of programs, and teach in many ways. Every museum educator brings unique gifts to the art of teaching through works of art. The two classes described above might seem at first glance quite different. The first museum educator stays with a single work of art for the entire session, constructs her class around the observations and ideas of the students, and trusts that through their collective experience, a larger meaning will emerge. The second educator inspires his students with a feeling of confidence by guiding their observations of a single feature common to several works, and then allows a main idea to emerge. The two classes, however, are also alike in certain essential ways. In both cases, the students and the instructor are animated, concentrated, focused, and active. Their investigation is tightly focused on the works under discussion, and the group together reaches for a sense of the artworks as a whole. At the end, when the participants cluster around the works of art, still wanting to continue the experience of discovery, the instructors know that theirstudents have understood that engagement with a work of art is a beginning, not an end.The opportunities museum educators have to teach and learn are granted to us by the collections of objects in the care of the institutions in which we work, and by the students and visitors we invite to consider these objects. These artworks also impose upon us a great obligation, to bring them alive for those we lead through the galleries. For ultimately, it is our devoted attention that keeps artworks alive generation after generation.This essay is the result of our work as museum educators. It began with a casual discussion about what constitutes good teaching, and what we can do to guide ourselves and our docent colleagues toward consistent and principled teaching in our museums. We... (shrink)

What did nineteenth-century chemists know? This essay uses Emil Fischer’s classic study of the sugars in 1880s and 90s Germany to argue that chemists’ knowledge was not primarily vested in the theories of valence, structure, and stereochemistry that have been the subject of so much historical and philosophical analysis of chemistry in this period. Nor can chemistry be reduced to a merely manipulative exercise requiring little or no intellectual input. Examining what chemists themselves termed the “art of chemical experimentation” reveals (...) chemical practice as inseparable from its cognitive component, and it explains how chemists integrated theory with experiment through reason. (shrink)

Merleau-Ponty, in Humanism and Terror, addresses the spectrum of problems related to revolutionary action. His essay, Eye and Mind, is best known as a contribution to aesthetics. A common structure exists in these apparently disparate works. We must reject the illusion of subjective clairvoyance as a standard of revolutionary praxis; but also we must reject any idealised light of reason that illuminates all—that promises a history without shadows. The revolutionary nature of an act must be established as such through praxis. (...) The creative praxes of the political revolutionary or the revolutionary artist are recognised ex post facto; yet each involves the creation of its own new aesthetic wherein the value of that praxis is to be understood spontaneously and all at once. (shrink)

The classical tradition of testimony in topics -- Three medieval traditions : Augustine, Boethius, and Cassiodoras -- Two renaissance traditions : Ciceronian and Augustinian -- The long influence of the port-royal logic -- Appreciating Aristotle : Thomists, Scots, and Oxford noetics -- Testimony becomes experience : the rise of critical thinking.

Descartes’s concern with the proper method of belief formation is evident in the titles of his works—e.g., The Search after Truth, The Rules for the Direction of the Mind, and The Discourse on Method of rightly conducting one’s reason and seeking the truth in the sciences. It is most apparent, however, in his famous discussions, both in the Meditations and in the Principles, of one particularly noteworthy source of our doxastic errors—namely, the misuse of one’s will. What is not widely (...) recognized, let alone appreciated and understood, is the relationship between his concern with belief formation and his concern with virtue. In fact, few seem to realize that Descartes regards doxastic errors as moral errors and as sins both because such errors are intrinsically vicious and because they entail notably deleterious social consequences. Reforming the Art of Living seeks to rectify this rather common oversight in two ways. First, it aims to elucidate the nature of Descartes’s account of virtuous belief formation. Second, it aims both (i) to illuminate the social significance of Descartes’s philosophical program as it relates to the understanding and practice not of science, but of religion and (ii) to develop a kind of Leibnizian critique of this aspect of his program. More specifically, it aims to show that Descartes’s project is “dangerous,” insofar as it is subversive not only of traditional Christianity but also of other traditional forms of religion, both in theory and in practice. (shrink)

The 'Art of Life' is John Stuart Mill's name for his account of practical reason. In this volume, eleven leading scholars elucidate this fundamental, but widely neglected, element of Mill's thought. Mill divides the Art of Life into three 'departments': 'Morality, Prudence or Policy, and Æsthetics'. In the volume's first section, Rex Martin, David Weinstein, Ben Eggleston, and Dale E. Miller investigate the relation between the departments of morality and prudence. Their papers ask whether Mill is a rule utilitarian and, (...) if so, whether his practical philosophy must be incoherent. The second section contains papers by Jonathan Riley and Wendy Donner, who explore the relation between the departments of morality and aesthetics. They discuss issues ranging from supererogation to aesthetic pleasure and humanity's relationship with nature. -/- The papers in the third section consider the Art of Life's axiological first principle, the principle of utility. Elijah Millgram contends that Mill's own life refutes his claim that the Art of Life has a single axiological first principle. Philip Kitcher maintains that Mill has a dynamic axiology requiring us to continually refine our conception of the good. In the final section, three papers address what it means to put the Art of Life into practice. Robert Haraldsson locates an 'Art of Ethics' in On Liberty that is in tension with the Art of Life. Nadia Urbinati plumbs the classical roots of Mill's view of the good life. Finally, Colin Heydt develops Mill's suggestion that we regard our own lives as works of art. (shrink)

In this major contribution to philosophy and rhetoric, Eugene Garver shows how Aristotle integrates logic and virtue in his great treatise, the _Rhetoric._ He raises and answers a central question: can there be a civic art of rhetoric, an art that forms the character of citizens? By demonstrating the importance of the _Rhetoric_ for understanding current philosophical problems of practical reason, virtue, and character, Garver has written the first work to treat the _Rhetoric_ as philosophy and to connect its themes (...) with parallel problems in Aristotle's _Ethics_ and _Politics._ Garver's study will help put rhetoric at the center of investigations of practice and practical reason. (shrink)

By a two-time debating world champion, a dazzling look at how arguing better can transform your life - and the world - for the better.

In lieu of an abstract, here is a brief excerpt of the content:The Art of Theater—A PrécisJames R. Hamilton (bio)In The Art of Theater I propose and explain a claim that many theater people hold true in some form but, so far as I can tell, have defended in a manner that has had almost no success outside discussions among themselves.1 The claim proposed is that, in an unqualified way, theater is a form of art. By that I mean theatrical (...) performances are what are created in the practice of theater and that theatrical performances are works of art because they can be picked out and appreciated in the same ways we appreciate other kinds of artworks.2The agenda I set for the book is to state and explain what that claim comes to—exactly and in detail. Accordingly, most of the book consists of explanations of what else must be true if the claim is true, together with arguments defending the truth of those entailments. Some of the material consists of clarifying what the claim does not entail, and some passages contain arguments to show that alternative claims have problems that this one does not. Of these, I have allowed the explanation and clarification materials to carry the burden. Many philosophers and literary theorists are likely to find the claim incomprehensible because they have inherited, rather than critically accepted, a conception of theater as centrally dependent on literary texts.3 Philosophers, literary theorists, and theater theorists are better served by the explanations and clarifications I offer, however, because they show the claim can withstand the immediate objections or worries likely to arise.The direct argumentation I offer for the claim is historical. Indeed, I begin the book by tracing how theater has been conceived and practiced in the European theatrical tradition since the 1850s. I start there and then for several reasons. First, it is the beginning of a period of great achievement in theater, when literary artists began again to write for theater. Second, the same period also gave rise to a now dominant conception of theater: namely, [End Page 4] the idea that theatrical performances, or at least the most often performed, are events that are dependant primarily if not exclusively on literary texts. Finally, the 1850s were also the beginning of a period in which theater people were both doing and thinking about theater in ways that resisted that very same dominant conception. The conclusion I come to in tracing this history is that—without always intending to and sometimes by intending the opposite—theater’s theoretical practitioners have put us in a position to see the truth of the claim that theatrical performance itself is an independent form of art. Assured we can see that truth in the actual historical practices of theater, even in its most self-consciously text-oriented period, I then proceed to explain and clarify the claim.To begin with, the enormous success of the conjunction of literature and theater in late European theater practice means that any view of the art status of theatrical performances must explain the relation between a performance and a literary text, at least when a literary text is used in the performance. This is the first bit of explanation I undertake. A number of models of this relationship have been proposed, and I survey three of the primary ones. First, the “literary” model holds that performances illustrate or, at best, interpret the text and exist as a means to present the content—or the interpreted content—of the text in a performance mode. Second, the “two-text” model holds that the content of the literary text must be translated, adapted, transformed, reconstructed, or otherwise “reinscribed” in the language of theater. A third model, popular in analytic aesthetics, attempts to piggyback an account of theatrical works, texts, and theatrical performances on the well-developed ontology of musical works, scores, and musical performance.4 This third model might provide the right ontology of theatrical performances. Before we try to determine what kinds of things or events make our experience of theater what it is, however, first we should seek the best explanation of that experience. And that is the task I undertake in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aristotle’s Rhetoric: An Art of CharacterJohn T. KirbyEugene Garver. Aristotle’s Rhetoric: An Art of Character. Chicago and London: The University of Chicago Press, 1995. xii + 344 pp. Cloth, $53.95; paper, $18.95.The history of Aristotle’s Rhetoric has been one of cyclical obscurity and rediscovery. Arguably the single greatest work of rhetorical theory ever penned, in any time or culture, its popularity and influence seem to wax and wane (...) repeatedly. Why this should be is not clear, but it is undeniable that even when it has not disappeared completely, its stock (so to speak) among theorists and practitioners of discourse has fluctuated.We are in a bull market for rhetorical studies generally, and these days Aristotle’s work (despite some dissenters who demonize him as the epitome of an oppressive ideology) is pretty much blue-chip. Even so, it is not every day that one encounters a book devoted entirely to the Rhetoric, and even less frequently is that book self-consciously written “philosophically.” In fact, in this century, the only other title in English that could be said to fit this description is Father William Grimaldi’s Studies in the Philosophy of Aristotle’s Rhetoric (Wiesbaden 1972), a book concerned with very different kinds of issues, for example, the unity (or otherwise) of the treatise overall, and its methodological relationship to the rest of the Aristotelian corpus. In a sense, then, Garver is quite justified in his claim that this is the first book-length treatment of Aristotle’s Rhetoric in this century (3). Moreover, it is a philosophical treatment in the sense that it endeavors to orient the Rhetoric (as its subtitle suggests) to issues of ethics, and because it considers the treatise as a work of political theory. Garver proposes that to call Aristotle’s treatise philosophical “is to insist, first of all, that the Rhetoric be read as a piece of philosophic inquiry, and judged by philosophic standards” (3, emphasis added): it is this aspect above all that distinguishes Garver’s approach from those, say, of the teacher of composition, who will be interested most in how the Rhetoric can best be used to teach principles of effective writing; of the historian of rhetoric, who will be interested in the vicissitudes of the Aristotelian system vis-à-vis those of competing schemata (such as, e.g., stasis theory); or of the classical philologist, into whose especial bailiwick fall such problems as those of Quellenforschung and Textgeschichte. Hence Garver’s explicit inattention to historicism in this work (“It contains virtually no examination [End Page 651] of the Rhetoric’s historical context,” 7). Which is not to say that Garver is ignorant of, or uninterested in, history: on the contrary, he reminds us that “The good practical use of reason has a history. The Greek word for the power of practical thinking is phronêsis; its Latin translation was prudentia” (5). And those who are familiar with Garver’s earlier work will know that he is the author of Machiavelli and the History of Prudence (Madison 1987). It is evident, then, that the study under review here is indeed (in a larger sense) a work of historical contextualization: another page in the history of phronêsis, as Aristotle used that term.Aristotle’s Rhetoric: An Art of Character is one of the most thoughtful studies of that brilliant and difficult treatise to emerge in a long time. Garver takes Aristotle seriously, posing pungent questions and answering them in original and interesting ways. His style is clean and occasionally arresting (“To us, Aristotle might look naive. To Aristotle, we would look not sophisticated but unnatural,” 10). And, in the course of the book, there emerges a portrait of the Rhetoric that quite confirms its philosophic nature—not, however, as a work of disembodied theôria, but one “designed... to present legislators with an understanding of the civic art of rhetoric” (245). While Garver feels that the treatise ‘is not very useful to practitioners of the art’ (245), Aristotle’s project is also described as a ‘civic, practical art of rhetoric’ (18). This brief statement requires a good deal of unpacking, because, on... (shrink)

The aim of this paper is to point out significant and meaningful overlapping between several styles of scientific thinking, as they were proposed by Crombie (1981) and discussed by Hacking (1985; 2009). This paper is divided in four sections. First, I examine an interpretation made by Barnes (2004) about the incompatibility among scientific styles. As explained by its author, this interpretation denies any possibility of similarities between styles of scientific reasoning. In opposition, the following sections of this paper include (...) explanations of relevant characteristics of Geometry, as stated in Euclid's Elements, which are also present in other three scientific styles: modeling, experimental exploration and taxonomic style (and some of the shared characteristics are even used to define such styles). By stressing out these characteristics I argue that these four styles discussed by Hacking are not so different from each other, in fact, they overlap and may even be abridged into one foundational style: geometric. El objetivo de este artículo consiste en explicar traslapes importantes y significativos entre varios estilos de pensamiento científico, tal como fueron propuestos por Crombie (1981) y discutidos por Hacking (1985; 2009). El presente artículo está dividido en cuatro secciones. Primero, se examina la interpretación de Barnes (2004) sobre la incompatibilidad entre diversos estilos. Según este autor, no existe posibilidad alguna de encontrar similitudes en los estilos de razonamiento científico. En oposición a esta interpretación, las siguientes secciones explican características relevantes de la Geometría, tal como fueron plasmadas en Los Elementos de Euclides, y que están presentes en otros tres estilos: de modelación, de experimentación y taxonómico (las características compartidas incluso definen algunos de estos estilos). Destacar estas características me permite argumentar que estos cuatro estilos discutidos por Hacking no son tan diferentes entre sí, de hecho, se traslapan e incluso pueden ser condensados en un estilo fundacional: el geométrico. (shrink)

The post-Holocaust suicide of a concentration camp survivor is particularly unsettling. One thinks, for instance, of Cliff Stern's devastated response to Professor Louis Levy's death in Woody Allen's movie Crimes and Misdemeanors. Loosely based on Primo Levi, Allen's professor provides in short documentary clips an astute analysis of the contradictions of a loving God in the Old Testament and stoically counsels embracing life despite the indifference and occasional cruelty of the universe. Having experienced, understood, and accepted the absurdity and injustice (...) of life, Levy, one might think, would rage to the bitter end against the dying of the light. But for no apparent reason, he kills himself. Cliff's response... (shrink)