In Adapted Brains and Imaginary Worlds, Donald Beecher explores the characteristics and idiosyncrasies of the brain as they affect the study of fiction. He builds upon insights from the cognitive sciences to explain how we actualize imaginary persons, read the clues to their intentional states, assess their representations of selfhood, and empathize with their felt experiences in imaginary environments. He considers how our own faculty of memory, in all its selective particularity and planned oblivion, becomes an increasingly significant (...) dimension of the critical act, and how our own emotions become aggressive readers of literary experience, culminating in states which define the genres of literature. Beecher illustrates his points with examples from major works of the Renaissance period, including Dr Faustus, The Faerie Queene, Measure for Measure, The Yorkshire Tragedy, Menaphon, The Dialogue of Solomon and Marcolphus, and The Moral Philosophy of Doni. In this volume, studies in the science of mind come into their own in explaining the architectures of the brain that shape such emergent properties as empathy, suspense, curiosity, the formation of communities, gossip, rationalization, confabulation, and so much more that pertains to the behaviour of characters, the orientation of readers, and the construction of meaning. Discussing a breadth of topics – from the mysteries of the criminal mind to the psychology of tears – Adapted Brains and Imaginary Worlds is the most comprehensive work available on the study of fictional worlds and their relation to the constitution of the human brain. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mind, Theaters, and the Anatomy of ConsciousnessDonald Beecher"All unified theories of cognition today involve theater metaphors."—Bernard J. BaarsAmong the most perplexing challenges for cognitive philoso-phers are those pertaining to representationalism, Gilbert Ryle's denial of the "ghost in the machine," the languages of cognition, and the "self" as the one-time audience and author of consciousness.1 Each of these topics can be discussed metaphorically in terms of the theater. The (...) mind is a kind of acting space in which thoughts and images are in some fashion prepared and represented in rapid sequence. Consciousness is a theatrical machine behind which there is a director who helps to determine how the narrative of the mind will play itself out. The discrete "I" is not only the prompter of consciousness, but its audience, receiving all that is played in the mind's theater. Or, in the words of C. S. Sherrington, "each waking day is a stage dominated for good or ill, in comedy, farce or tragedy by a dramatis persona, the 'self,' and so it will be until the curtain drops."2 The problem, however, is that in matters so difficult to comprehend as the workings of the human brain and the mind operations attached to it, metaphors develop vectors of their own that shade and nuance understanding in ways that obstruct the plasticity of analysis. For this reason, theater analogies in relation to consciousness have been widely endorsed in characterizing its distinctive operations, yet widely criticized for epitomizing the philosophical thinking in the past (and the present) that detaches consciousness from the emotions, the body, and the material world. For the latter reason, the metaphor of [End Page 1] the theater will generally be found wanting, as it is in Dennett's assault on what he labels "the Cartesian theater." And yet there are compelling reasons why this metaphor may persist for a time to come as the image of choice for illustrating the operations of consciousness.Arguably, the earliest intimations of mind as resembling a theater emerged at the beginning of the sixteenth century. It was not only an age that fostered a renewed interest in dramatized spectacle, but one that confronted, through theater metaphors, the illusory nature of human experience. The rise of the modern theater, and speculations upon reality in relation to happenings in the mind, are quite separate phenomena, but, arguably, a sense of the theater as a place of memory, of illusions projected as realities, and of experience provided the best "thought experiment" for dealing with the paradoxes of mentation. In fact, the emerging sense of reality as an illusion was tantamount to a major paradigm shift, one that has remained at the center of western philosophy from the time of Descartes to the present day. That there could be a disparity between the phenomena of mind and the world of extension was a watershed in epistemological thinking, and it followed, as a matter of course, that the illusions associated with perception would find expression in the illusions associated with theatrical representation. The result was that the medieval metaphor of the speculum, emphasizing the mind as the faithful reflection of reality, was replaced by the theater, in which the necessary conventions permitting belief came to bear on the understanding of the data which the mind represented to itself. In short, conventions are to the theater what adequate representation is to the mind—the necessary slippages whereby perceptions function as reality.Parallel insights into the mind as a theater came about through sixteenth-century inquiries into mnemonics techniques for the improvement of memory. This metaphor of mind came about by analogy with memory theaters of the kind epitomized in the Idea del Theatro (1550) of Giulio Camillo. He chose the theater simply as the most apt edifice in which to house his elaborate set of memory prompts. His goal was to devise an actual working machine for enhancing recall. He chose the theater because of its architectural complexity and multi-sectionality which he could in turn invest with information. Yet insofar as the theater functioned in relation to memory through the art of mnemonics, it became an extension of mind, and... (shrink)

The study to follow is concerned with the structure of romance in the ancient and Renaissance periods from the perspective of nostalgia, to be defined here as one of the most deeply engrained features of the human psyche. The argument in brief is that of all the literary genres of the early modern era, romance tells the story of homecoming with the greatest sense of imperative, constituting a tropism in the form of a literary motif that originates in the evolutionary (...) engineering of the species. But first to the genre itself. Invariably, these are tales not only of outbound adventure, whether by choice or destiny, but of the return to a place or community that constitutes refuge, family, origins, reunion .. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:SuspenseDonald BeecherSuspense is one of those workaday terms so integrated into the discussion of literature that definition would hardly seem necessary. It does receive pro forma entries in most literary handbooks, but never provokes more than a statement of the self-evident: that it is a "state of uncertainty, anticipation and curiosity as to the outcome of a story or play, or any kind of narrative in verse or prose,"1 (...) that such anticipations arise "particularly as they affect a character for whom one has sympathy," and that plot types vary in ways that affect the ethos of suspense: those situations in which the outcome is uncertain and readers are concerned with how they will be resolved, and those in which the outcome is inevitable and readers, in their fear, concentrate merely on knowing when the catastrophe will be complete.2 Indicatively, Roger Fowler's A Dictionary of Modern Critical Terms gives it a pass altogether.3 But even these generic representations of the concept must venture such quizzical terms as "state" and "sympathy," both of which are seen to inhere not in texts and narratives, but in spectators and readers. Suspense, then, must have two sides: that which is invested in the design of the story as an emotion prompt; and that which is a feature of mind.This critical divide can be stated in many ways. One could say that evaluating the emotionality embedded in a text is an act of literary criticism, while the study of the emotionality aroused by literature belongs to cognitive psychology. These are, of course, two sides to the proverbial coin worthy of critical alignment—namely that which authors know about organizing narratives to produce suspense, and that which readers "know" through the constitution of their brains about responding to situations of alarm or disorientation involving themselves or others, and the compelling limbic reinforcement that impels them toward ends [End Page 255] that will release them from incertitude or danger. The critical challenge at this juncture is to decide whether a study of suspense should begin in narratology or psychology, for without the récit of events in time there are no prompts, even though suspense as experience does not reside in texts but in psyches.Wolfgang Iser calls for a balanced approach to literary study in general that "lays full stress on the idea that, in considering a literary work, one must take into account not only the actual text, but also, in equal measure, the actions involved in responding to that text."4 But that does not help in determining whether suspense should be defined according to a minimum prescription of narrative procedures and characteristics, or as a literary subset of a human, genetically-conditioned response mechanism selectively engineered to meet a range of stressors in the environment.The first question in the creation of a rapprochement between these domains must deal with the very capacity for mind states to be emotionally moved by literary configurations, insofar as literary suspense borrows from the vocabulary of limbic arousal responses. The second question pertains to what readers are brought to feel more particularly for make-believe persons in make-believe situations of danger. Are these also make-believe emotions, for then it must be determined what an exclusively literary emotion might be. Subsequent questions must deal with the range of suspense arousing situations, whether they involve only protagonists, their desires and prospects, or whether suspense applies to any motivated pursuit of information deemed vital to mental satisfaction. These distinctions and their relationship will prove critical.Almost universally, in the limited number of critical studies that exist, literary suspense entails liked characters under duress whose futures are perilous and uncertain—futures about which readers hold strong preferences. This perspective stands in opposition to potentially broader definitions that include curiosity, problem-solving sequences, cognitive jags, or pattern completion. One obstacle is that problem-solving activities appear to exceed the capacities of minds already absorbed in the events of fictive worlds, arriving merely as distractions from the conditions of high, dramatic suspense. They can be said to fall outside the fictive representation altogether, particularly as they pertain to the patterns of fiction, or a... (shrink)

So Lentricchia has fulfilled one of his purposes in this essay. He has subverted the patriarchy from within: that is, he has subverted Bloom’s literary history as well as the essentialist feminism associated with it. But he has not fulfilled his affiliated purpose of establishing a dialogue between feminists and feminized males. The “feminization” of literary studies by patriarchal figures like Bloom does not account for the feminization of Stoddard, Gilder, Van Dyke, Woodberry, or Stedman. Their feminization, like that of (...) the Stevens who felt positively lady-like, was not the result of patriarchal oppression. And it will not disappear as the result of the subversion of the patriarchy by a feminized male. Mistaking the work of feminization with the work of the patriarch eradicates the feminine. By identifying the difference between a feminization produced by the patriarchy and a feminine cultural sphere, Lentricchia has made room for the different cultural conversation he wants to develop. But this conversation can take place only after the backdrop of an oppressive patriarch can drop away.This conversation might begin with an account of that cultural sphere in which women are the agency to which Lentricchia alludes. It might begin when we recall that the model for the culture’s “Emmeline Grangerfords” was Harriet Beecher Stowe’s Little Eva. The social change Little Eva helped effect was the emancipation of both slaves and slaveholders. Donald E. Pease is professor of English and American literature at Dartmouth College. His articles on nineteenth-century authors and literature have appeared in a number of journals. He is the coeditor, with Walter Benn Michaels, of American Renaissance Reconsidered, and is the author of Visionary Compacts: American Renaissance Writings in Cultural Contexts, which won the Mark H. Ingraham Prize in 1987. (shrink)

Individuals of some animal species have been taught simple versions of human language despite their natural communication systems failing to rise to the level of a simple language. How is it, then, that some animals can master a version of language, yet none of them deploy this capacity in their own communication system? I first examine the key design features that are often used to evaluate language-like properties of natural animal communication systems. I then consider one candidate animal system, bird (...) song, because it has several of the key design features or their precursors, including social learning and cultural transmission of their vocal signals. I conclude that although bird song communication is nuanced and complex, and has the acoustic potential for productivity, it is not productive – it cannot be used to say many different things. Finally, I discuss the debate over whether animal communication should be viewed as a cooperative information transmission process, as we typically view human language, or as a competitive process where signaler and receiver vie for control. The debate points to a necessary condition for the evolution of a simple language that has generally been overlooked: the degree of to which the interests of the signaler and receiver align. While strong cognitive and signal production mechanisms are necessary pre-adaptations for a simple language, they are not sufficient. Also necessary is the existence of identical or near-identical interests of signaler and receiver and a socio-ecology that requires high-level cooperation across a range of contexts. In the case of our hominid ancestors, these contexts included hunting, gathering, child care and, perhaps, warfare. I argue that the key condition for the evolution of human language was the extreme interdependency that existed among unrelated individuals in the hunter-gatherer societies of our hominid ancestors. This extreme interdependency produced multiple prosocial adaptations for effective intragroup cooperation, which in partnership with advanced cognitive abilities, set the stage for the evolution of language. (shrink)

The early essays in this volume proceed on the assumption that a compatability system can be fashioned that will not only bring religious knowledge claims into harmony with scientific claims, but will also show there to be a fundamental similarity of method in religious and scientific thinking. They are not, however, unambiguously successful. Consequently Wiebe sets out in the succeeding essays to seek an understanding of the religion/science relationship that does not assume they must be compatible. The examination, in the (...) final analysis, reveals a fundamental contradiction in the compatability system building programme which suggests that religious belief is beyond legitimation. (shrink)

The almost 300 articles contain not only historical accounts but also some indication of the state of present day study in classical philosophy.

There is a familiar problem in moral theories that recognize positive obligations to help others related to the practical room these obligations leave for ordinary life, and the risk that open-ended obligations to help others will consume our lives and resources. Responding to this problem, Kantians have tended to emphasize the idea of limits on positive obligations but are typically unsatisfactorily vague about the nature and extent of these limits. I argue here that aspects of Kant’s discussion of duties of (...) virtue owed to ourselves suggest a useful metric we can use in discussing these limits and that generalizing this account and combining it with elements of Barbara Herman’s view, offers us an attractive model of moral deliberation with the resources we need to engage the critic’s challenge properly. (shrink)

David Hume is famous as a sceptical philosopher but the nature of his scepticism is difficult to pin down. Hume's True Scepticism provides the first sustained interpretation of Part 4 of Book 1 of Hume's Treatise: his deepest engagement with sceptical arguments, in which he notes that, while reason shows that we ought not to believe the verdicts of reason or the senses, we do so nonetheless. Donald C. Ainslie addresses Hume's theory of representation; his criticisms of Locke, Descartes, (...) and other predecessors; his account of the imagination; his understanding of perceptions and sensory belief; and his bundle theory of the mind and his later rejection of it. (shrink)

Cochrane has developed a linked data infrastructure to make the evidence and data from its rich repositories more discoverable to facilitate evidence-based health decision-making. These annotated resources can enhance the study and understanding of biomarkers and surrogate endpoints.

For most of the two hundred years or so that have passed since the publication of the Wealth of Nations, Adam Smith's writings on political and economic questions have been viewed within a liberal capitalist perspective of nineteenth- and twentieth- century provenance. This essay in interpretation seeks to provide a more historical reading of certain political themes which recur in Smith's writings by bringing eighteenth-century perspectives to bear on the problem. Contrary to the view that sees Smith's work as marking (...) the point at which 'politics' was being eclipsed by 'economics', it claims that Smith has a 'politics' which goes beyond certain political attitudes connected with the role of the state in economic affairs. It argues that he employs a consistent mode of political analysis which cannot be encompassed within the standard liberal capitalist categories, but can be understood by reference to the language and qualities of contemporary political debate, and of the eighteenth-century science of politics cultivated by Montesquieu and, above all, Hume, particularly as revealed by recent scholarship. A concluding chapter draws the various strands of the interpretation together to form a portrait of what Smith might legitimately be said to have been doing when he wrote on these matters. (shrink)

Examines the findings of scientific research into the thought processes of animals and argues that animals are capable of conscious thought.

The Twentieth Century has seen a dramatic rise in the use of probability and statistics in almost all fields of research. This has stimulated many new philosophical ideas on probability. _Philosophical Theories of Probability_ is the first book to present a clear, comprehensive and systematic account of these various theories and to explain how they relate to one another. Gillies also offers a distinctive version of the propensity theory of probability, and the intersubjective interpretation, which develops the subjective theory.

Argues that a pluralistic understanding of truth can foster productive conversations about common concerns involving religion, science, ethics, politics, economics, and ecology without falling into relativism. In this book, Donald A. Crosby defends the idea that all claims to truth are at best partial. Recognizing this, he argues, is a necessary safeguard against arrogance, close-mindedness, and potentially violent reactions to differences of outlook and practice. Crosby demonstrates how “partial truths” are inevitably at work in conversations and debates about religion, (...) science, morality, economics, ecology, and social and political progress. He then focuses on the concept in the discipline of philosophy, looking at a number of distinctions that are taken to be strictly binary—those between fact and value, continuity and novelty, rationalism and empiricism, mind and body, and good and evil—and demonstrates how in all of these cases, each on its own can offer only an incomplete picture. Partial Truths and Our Common Future invites ongoing dialogue with others for the sake of mutual enlargements of understanding rather than mere civility, and provides incentive for continuing open-minded and shared inquiries into the important issues of life. “This is a transdisciplinary philosophical work that moves with grace across traditions, time periods, and thinkers. It is a master class in the existential and public relevance of philosophy and a rare example of a book that is both timely and timeless.” — Michael S. Hogue, author of The Promise of Religious Naturalism. (shrink)

The largest part of the book consists of analyses of the fundamental types of moral judgment. This section is preceded by a chapter on methodology in ethics, and the last two chapters discuss the nature and resolution of moral controversies. It will be convenient to divide the subsequent exposition according to this threefold division.

Throughout the book, Bennett offers a variety of thoughtful suggestions on recovering and strengthening the collegium. He also describes the key intellectual and moral virtues that lie at the heart of the academy's mission to advance learning. Specific strategies for implementing this relational model within the academy are provided, with special attention to the constructive role that chairpersons and deans can play.

Truth, Language, and History is the much-anticipated final volume of Donald Davidson's philosophical writings. In four groups of essays, Davidson continues to explore the themes that occupied him for more than fifty years: the relations between language and the world; speaker intention and linguistic meaning; language and mind; mind and body; mind and world; mind and other minds. He asks: what is the role of the concept of truth in these explorations? And, can a scientific world view make room (...) for human thought without reducing it to something material and mechanistic? Including a new introduction by his widow, Marcia Cavell, this volume completes Donald Davidson's colossal intellectual legacy. (shrink)

This is the third volume of Donald Davidson's philosophical writings. In this selection of his work from the 1980s and the 90s, Davidson critically examines three types of propositional knowledge—knowledge of one's own mind, knowledge of other people's minds, and knowledge of the external world—by working out the nature and status of each type, and the connections and differences among them. While his main concern remains the relation between language, thought, and reality, Davidson's discussions touch a vast variety of (...) issues in analytic metaphysics, epistemology, and the philosophy of mind, including those of truth, human rationality, and facets of the realism–antirealism debate. (shrink)

Scientific evidence is crucial in a burgeoning number of litigated cases, legislative enactments, regulatory decisions, and scholarly arguments. Evaluating Scientific Evidence explores the question of what counts as scientific knowledge, a question that has become a focus of heated courtroom and scholarly debate, not only in the United States, but in other common law countries such as the United Kingdom, Canada and Australia. Controversies are rife over what is permissible use of genetic information, whether chemical exposure causes disease, whether future (...) dangerousness of violent or sexual offenders can be predicted, whether such time-honored methods of criminal identification have any better foundation than ancient divination rituals, among other important topics. This book examines the process of evaluating scientific evidence in both civil and criminal contexts, and explains how decisions by nonscientists that embody scientific knowledge can be improved. (shrink)

This is the long-awaited third volume of philosophical writings by Davidson, whose influence on philosophy since the 1960s has been deep and broad. His first two collections, published by Oxford in the early 1980s, are recognized as contemporary classics. His ideas have continued to flow; now, in this new work, he presents a selection of his best work on knowledge, mind, and language from the last two decades. It is a rich and rewarding feast for anyone interested in philosophy, and (...) essential reading for anyone working on these topics. (shrink)

Reproduced here in facsimile, this volume was originally published in 1963 and is available individually. The collection is also available in a number of themed mini-sets of between 5 and 13 volumes, or as a complete collection.